Live Bite – Kowloon Walled City/Town Portal/Wren/Mother – The Underworld, 19/07/19

Entering London and the musical heartbeat of Camden, it’s clear that Friday night hasn’t taken full effect yet, in the twilight moments of rush hour traffic, the hubbub outside Camden Town station breathes quiet. Overcast skies threaten ahead, but it stays dry for now. A perfect, ominous climate for the music that awaited around the corner.

I enter the Underworld only a few minutes after Belgium’s Mother take the stage, only after security nearly forgets to hand my ticket back over. There’s some inaudible whispering every once in a while, but there’s a constant ebb and flow of sludge-soaked noise, with terrifying roars tearing through frenzied and impactful guitarwork. Pace switches often, looping numerous layers of guitar, building melodies inside the unstoppable tides to what was a fascinating narrative. The trio ends on a small section of finely pronounced ambience and tranquility, and quell what was a raucous storm for twenty or so minutes. The early show did harm the performance admittedly, but they were utterly mesmerising from beginning to end. In the right circumstances, I’m sure this performance would crush every venue they set foot in. Out of the 10 or so people here, they absolutely made a fan out of me.

Conversely, there’s nothing pretty about Wren, and thankfully the Underworld starts to fill as they take the stage. Being descendants of the unstoppable Holy Roar records, ought to give you some indication of what was about to transpire. Ambient dissonance is instead transitioned into half an hour of primal intensity; an avalanche of concrete-pounding, bloody-knuckled riffs and nerve-shredding screams seemingly played to test limits of ear drums endurance. Imagine your loved ones being cast under the throes of perdition, and that drifts somewhere close to the staggering show of strength on display. Only dulling drones and sharp sustains broke the unrelenting nature of their performance. Although marred by some minute annoyances by mildly inattentive tech crew, their Torche on steroids-inspired onslaught is received well by those desperately trying not to be flattened.

Copenhagen’s Town Portal follows, only then realisation setting in the international flavour of this night, and the most controlled noise barrage yet is what emerges. Magistrates of math-tinged dynamic instrumentals, there’s moments of melodic magic and deeply gratifying groove over compelling syncopated beats which the brain struggled to absorb whether it was truly 4/4 or not, but their own technical intricacies united for some monstrous beatdowns that made obvious why they were on the bill. They were also the first band to engage the crowd thus far, that fabled endearing Scandinavian hospitality shining through their laser-focused performance. However you sought to define or catergorise this masterful performance, which physical viewing made mandatory to capture the real extent of their craft, you couldn’t peel yourself away.

You could somewhat ponder whether we were going to get our first glimpse of new music since 2015, teasing being in the studio at the beginning of the year. Regardless if that question were to be answered, Kowloon Walled City casually finish setting up, and proceed to leather and unequivocally eviscerate all onlookers with their meditated, sludge-submerged, post-hardcore dirges. At any point in their hour-long tenure, you could never tell if the Underworld felt mere moments away from collapse, the magnitude of force simply incalculable from Jon and Scott’s two-pronged guitar attack and Ian’s impossibly dense bass tone. Their Grievances-era tracks sting salient, the latter part of Your Best Years nearing driving me to tears, and the Container Ships tracks, comprising over half the setlist, rile up the crowd, the visceral 50s Dad and Wrong Side of History in particular erupting with a ferocity I’ve seen few live bands compete with. They also drag up Diabetic Feet from their now oft overlooked debut, and that apocalyptic bass grumble at the inset was the closest the Underworld came to devolving into anarchy. And intentional or not, those ravenous few stood beside me beckoned them back for a particularly bone-rattling rendition of Cornerstone before finally departing the stage. Kowloon Walled City just compose astonishing requiems, coursing with the emotional disparity of seething catharsis and agonising loss, that as their music evolves, stretches further and further untouchable.

While perhaps a fraction less as triumphant as their UK debut in 2016, co-headlining with Minsk, they sure as hell solidify their status to stride as one of the best bands on the planet, not just on record, but in a live environment, comfortably.

Setlist:

You Don’t Have Cancer
Wrong Side Of History
White Walls
Your Best Years
50s Dad
Splicing
The Pressure Keeps Me Alive
Diabetic Feet
Container Ships
Cornerstone

MOTHER

http://www.facebook.com/thisismotherspeaking

WREN

http://www.facebook.com/disciplesofwren
http://www.twitter.com/disciplesofwren
disciplesofwren.bandcamp.com

TOWN PORTAL

http://www.facebook.com/townportalband
townportal.bandcamp.com

KOWLOON WALLED CITY

inthewalledcity.com
http://www.facebook.com/kowloonwalledcity
http://www.twitter.com/KowloonWalled
kowloonwalledcity.bandcamp.com

THE SOUNDSHARK

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

 

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Introducing: 00000000

Building intrigue around a band or an artist certainly has become an artform nowadays, with more and more meticulously planned attempts sought after to challenge tried and tested marketing campaigns and traditions. A highly effective method to increase ‘buzz’ around a band is to strive for as an anonymous presence as possible and let the music do the talking. What can make a difference is how far musicians are really willing to push that boundary. We can talk about groups like Sleep Token, and until recently Ghost, who have formed their identity with a grand narrative to accompany their music, and it kept us guessing who were the musicians behind the masks, while marvelling at the work laid before us. 00000000 might be taking it that extra step further.

At face value, 00000000 is fast muted alternated strumming in guitar tablature, means nothing in binary, the precise time at the strike of midnight, and the number of life points both players would have left in a game of Yu-Gi-Oh, if both players drew the game. Or four fat ladies if you put all the zeroes together, if bingo is your bag. Their members have no publicised names or pseudonyms, music no defined genre traits and their public bio is illustrated by an excerpt from the dialogue of David disconnecting HAL in 2001: A Space Odyssey.  Their shows are only identified by a date and a postcode, which is a neat little detail in locating them, but any other detail about said shows are extracts from science fiction, cinema, and philosophers. The breadcrumbs are apparent, but seem to follow no clear cognitive fashion, and as such, if the band truly wished to keep themselves under wraps, their mission is succeeding.

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Thankfully, the question about what kind of musical calibre dwells inside the mystery is one that is answered, upon the release of the group’s Star Lane / Star City EP. With the four tracks, including a similarly urgent interpretation of Radiohead’s Everything In Its Right Place, the members of 00000000 perform, in the loosest sense, an engulfing brand of shoegaze-tinged indie rock, which can explode into heady periods of overwhelmingly emotional noise, almost as if Arcade Fire and Brand New started butting heads with one another. Constellations swirls with a sense of melancholy cheer, desperate wails and incandescent guitar, pit against rapid ticking of hi-hat and sombre piano, both skins and keys later pounded in unison, as its crescendo draws nearer. Once at its apex, that intensity never lets off, captivating as it is clamorous. As gateways go, this is an exceptional vantage point into what this group are capable of. Explore, though the shortest affair featured, begins in a jazz-like time signature, the offbeat cymbal taps and trio of snare hits offset by an almost Eastern-sounding chord progression and is arguably less excitable vocally, despite retaining much of that fervour felt before. If anything, it says something about their versatility, still being able to grasp at their vast sonic capacity in half the space of time, but also teasing glimpses of post-rock influences, a tremolo or two tucked inside, another tool to deploy if required. Lastly, Acid Burn tinkers with delay and darkened spoken word, post-punk, almost gothic-like in nature, which metamorphoses into sharp streaks of lead guitar and the kind of anguished vocals that sparks that Brand New comparison, back into shadow with just the prominent grumbles of bass for company. Cleverly, that spike in volume no doubt resembles the focal acid burn, at first unsuspecting, then becoming fiery, and distressing, until either treated or the damage is done, transitioning back to the quieter dynamic afterward.

All this adds up to the revelation, is that 00000000 are envoys of rejecting commodity, defying the throwaway tendency of music in the digital age, by tactically giving a willing audience both musical style and substance, in a frankly inexpressible hurricane of aural flavours that engages your brain, as well as exhilarates it.

All known information about this group can be traced back here if you wish to know more:

http://www.facebook.com/00000000music
http://www.00000000music.com

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Track of the Week: You Win Again Gravity – Seamless

On February 4, 2001 (though broadcasting events 1,000 years in the future), Commander Zapp Branningan of the starship Nimbus suggests piloting Le Palm d’Orbit, a floating restaurant in space that was evacuated moments before as a result of a disastrous karaoke session. Though believing he can commandeer any vessel built, he shortly crashes the restaurant afterwards onto a nearby planet. In the ensuing descent, he curses, ‘You win again, gravity!’ right as the restaurant enters the planet’s atmosphere. Stay with me here. On Halloween the following year, five young gentlemen from Ontario released their self-titled debut album, proclaiming their sound to be ‘Catholic girls in the middle of a knife fight.’ They went on to become one of the most influential voices in post-hardcore and are still often referred to as The Only Band Ever, despite uncertainty surrounding whether they will make new music together. Still following? Fast forward four years to Halloween of 2006, and Meshuggah re-release Nothing, completely remastered and re-recorded with 8-string guitars, of which its all-conquering polyrhythmic riff stagger and use of then recent technical innovations, arguably became the catalyst for the tech metal explosion towards the close of the decade. Understanding the link between a Futurama quote, Alexisonfire, and the advent of tech metal, is crucial to the raison d’être of these five gentlemen from Windsor, who share the same name of the aforementioned quote. And if the cohesion of sublime melodic hardcore and infallible metallic groove is anything to go by, then You Win Again Gravity are absolutely a band you need to be excited about.

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Though happily being a presence on the UK live scene for a number of years, their work rate suddenly amped up with 2016’s three track EP What’s Left Of The Distance, which lends its laser-focused trio of punchy, nautically deep, progressive hardcore hits to the much larger Anonymity released late last year. Seamless is among the latest of the band’s studio output, refining their already killer formula, while lending more volume to some of their broader influences. First filtered through lo-fi radio, Seamless’ core hook broadcasts to the listener, drawing on those tech-metal leanings of theirs and playing a technically simple but astonishingly addictive pattern of notes that requires extra thick bleach to scrub free from. Not to mention a drum performance that is certainly a technical marvel. Bursting through into full stereo moments later, the third guitar produces a more ambient overtone that gracefully blankets atop an already captivating opening sequence and quite frankly, they could’ve still made as stellar a song staying within these boundaries. Yet the progressive dynamic of You Win Again Gravity turns everything they touch into an immersive musical narrative. That triumphant tone mellows, giving all guitars an ambient piece to play, and room for Jack Jennings’ entrancing vocal talents to perform poetry, on the everyday pantomime that is life and trying to find the one. Cleverly and carefully placed too, are soothing secondary vocal harmonies with Jack’s own melodic delivery that although subtle in execution, accentuate so much more passion and nuance in the meanings of every word. The chorus soon storms in, unifying all instruments in a steady headbang, complete with gang shouts and volatile potential to create chaos in a larger live environment, given the breathing space. Call it a breakdown if you will. In the truest of rollercoaster fashions, the mood continues to switch between a calming recital and a tidal wave of emotion, verging on fury at points, setting up for a far greater instrumental pummeling near the climax. Time signatures are thrown around with reckless abandon and vocals once harmonious, become hair-raising growls seemingly fuelled by bitter contempt, the combination of which comes off as the musical equivalent of a descent into madness. The bombardment of riffs comes to a crawl, tension soaring like invigorating light dispelling all previous negativity, and we find ourselves back at the opening sequence, as if it were all a lingering thought in our imaginations.

Make no mistake, You Win Again Gravity are a thinking man’s hardcore unit, but their finesse and songwriting ability are phenomenal, so much so that listener experience is mandatory to even grasp at how talented these guys are. Anonymity will get them on the track to success at last, as no doubt what else they have to offer the UK hardcore and metal scenes remains just as exciting a prospect. After all, they still have yet to release a full-length album, but in their wealth of EPs, lies one of the UK’s best unsigned bands hands down.

I once wrote a lot shorter exposé on these fine gentlemen if you want a TL;DR version of You Win Again Gravity. It might actually be better than this piece. Might. Anyway, I must insist you watch the video of Seamless, as it may be the funniest music video produced in years. They have all their material on Bandcamp, as well as all respectable music retailers, and they’re even on the bill of UK Tech Metal Fest this year, fancy that.

Go love them on social media:

http://www.facebook.com/YouWinAgainGravity
http://www.twitter.com/YWAGband

And if you feel like loving me too, you’re very welcome to give me a like, a follow or subscribe to the site, by using the link that can appear somewhere on the page:

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Marcus Pike

The state of modern indie is certainly rather interesting nowadays. Although there have been past evaluations on when the last great era of modern indie was, ergo, when bands and artists last made an impact on the charts, where the genre stands in 2017, critically has never been better. Does having the adoration of critics and the music press outweigh greater commercial success? Maybe that’s a question to ask the Mercury Prize committee. While that is a debate for another time, the rise of a new wave of incredibly talented singer-songwriters have arguably become the heartbeat of indie, in this undeniably eclectic decade of music. Up-and-coming bands in the indie-rock vein are on their own battlefront, still rightfully rumbling the live music scenes across the world, and their time will come again. After all, it only seems that musical trends become cyclical, especially as this decade has progressed. As it stands right now, troubadours of a myriad of backgrounds and influences are among the most well-respected of artists, just trying to make music their entire lifestyle. And their emotional honesty, dedication and raw potential undeniably resonates with tastemakers, spheres of influence and those with a willing, listening ear, no matter how they choose to express their craft. Marcus Pike, a one-man indie-folk workhorse from the east end of London, citing the powerful vocal capacities of Bon Iver and Jeff Buckley, the melodic melancholia of Radiohead and the sublime minimalism of The xx as his inspirations, is another joining that order and hopefully soon to be more widely doted upon with his exquisite compositions.

Processed with MOLDIV

Since his small beginnings, he has amassed over 150 live shows on the London circuit and released his debut EP Grand Piano, featuring the phenomenal gut-punch blues of The Flower And The Fox, earlier in February this year. Now with his as-of-yet to be titled sophomore EP lingering on the horizon, and with the mention of experimentation into the electronic realm, we look to his latest release Ark, as a promising glimmer of things to come. Seconds in, after a near microscopic level of acoustic build-up, we are gifted with Marcus’ heart-heavy, but soulful projection, carrying an extraordinary downbeat atmosphere that only thought possible with man-made instruments. Of course, with his acoustic companion in hand, and the deliberately slow pacing, a perfect balance of soothing and sadness is struck, making his recollection of a love lost and being unlucky in love all the more poignant. Both these elements in isolation cast a spell on the listener, the darkened ambience and pure vulnerability of Marcus’ narrative utterly mesmerising to behold, and that half of Ark elapses in such a sensational, yet sorrowful surrender exhibits the very best of what this young man is capable of. The second half is brought to life by a live band, the chill of soft reverb transforming guitar from acoustic to electric, and gentle percussion giving an added weight and movement to the pace already in progress. This new dimension of atmosphere will feel very familiar in post-rock circles, it lurks within the same haunting, moving chords that can trigger pleasure, placidity and pain in every stroke and heightens this dramatic shift as such. A set of female vocals join in unison with Marcus’ as the last refrain grants the duo freedom to drift away, and Ark gradually does, a subtle choral introduction playing out in the background and those emotive guitar chords escaping from their structure, as everything fades to silence. Lord knows where those four minutes disappear to, but it is among one of the most absorbing pieces of indie I’ve ever encountered. While it can be labeled as romantic, Marcus Pike imbues his soul to the darkness, conjuring a spellbindingly beautiful ambience and sense of sombre with little more than his voice and a guitar, and the impact and resolve of that delivery, clamours for recognition far beyond the London live scene. Inspirations accounted for, there feels much, much more exciting and diverse to come from this fantastic young solo artist.

 

While Marcus’ sophomore release is yet to have a certified release date, you can purchase Ark, and his previous EP Grand Piano from his Bandcamp page, as well as all other respectable music retailers. As a stalwart of the circuit, you’ll no doubt be able to find Marcus at a London show, at a time to suit you, so keep an eye out for when you can catch him live on his social media.

Speaking of social media, here are a few places where you can tell him, you love him:

http://www.facebook.com/marcuspikemusic
http://www.twitter.com/marcuspikemusic

And if you wish to tell me that you love me too, then consider leaving me a like, a follow, or by subscribing to the site (totally free by the by), by clicking the link that appears somewhere on this page:

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Futures Are Changing, But Their Futures Are Still Black

The following account is of factual events that took place on the 27th October 2016, between the hours of 7 and 10pm. No details of this account have ever been made public. Until now.

I’m early. I’m not often early for a lot of things. In fact, I’m so early I have to wander up and down the street and take refuge in one of the cheapest London pubs I’ve ever set inside, waiting for to validate my invitation. But a little after 8pm, a gentleman sporting the Black Futures insignia arrives outside Wandsworth Town station, I weave the password into my conversation with him and he presents me with a blindfold, and told to await transport to the secret location. Of what I know of Black Futures media, their imagery resembles some kind of VHS propaganda reel, but nothing that was to resemble the theatricality of what was about to happen.

Once enough attendees had gathered, the chauffeur asked us to enter the transport and put on our blindfolds. In the brief journey towards the venue, around about 5-10 minutes in length, there was music playing under the guise of Black Futures Radio; short instrumental MIDI renditions of songs, interspersed between stingers and amusing interjections from its monotonous host. I seem to remember the best one about ‘having a funny feeling in my nether regions,’ or something similar at least. Little were we to know at that time, that what was unconsciously infiltrating our ear drums was a mere taster of the sonic assault to come. While the radio provided some light relief and entertainment, it didn’t stop the feeling of foreboding, being driven around on London streets, in a vehicle full of strangers, to a location you knew nothing about.

At the location, I just about made the shadow of gates opening before the path, and driving down to what looked like an abandoned film set of sorts. Outside, flanked by personnel in hazmat suits taking photographs of every attendee, heavies in suits instructed us to place our phones in envelopes or we would be refused entry. Happy to oblige, I did so without first telling my other half that I wouldn’t be able to be contacted for an unspecified amount of time. You can imagine how that went, especially after telling her the last thing that happened was that I was just given a blindfold. Anyway, we were directed left into a room, filled with more hazmat personnel and two giant dispensers filled with ‘social lubricants’. The drinks could only be dispensed by ringing a bell, or honking a horn, dependent on which you wanted. The folk in the suits and googles remained silent throughout, pulling glasses from underneath which they kindly filled and only once pouring half a litre of gin, to top up the more popular of the two dispensers. Yikes. The room itself had little in the way of furnishings with two sofas, in a room filled about thirty odd people, but was filled with very curious paintings, photographs and instruments around. It seemed elaborate, like a lot of thought had been put into the decoration of this venue, deliberately like some kind of scientific experiment and we were the test subjects.

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After a period of time for guests to mingle with one another, the room opposite in the hallway is unlocked, and we are welcomed inside a studio, outputting a frequency that feels like its properties could brainwash onlookers if exposed to in the right circumstances. Maybe that was the idea. But beyond the mixing desk and monitors, lay drums, microphones, a keyboard and a guitar, and a curious wall in the background which had a screen display inside what resembled a large sewage pipe opening. The door is then closed, the frequency is shut off and with the onlookers and myself all making ourselves as comfortable as possible, the producers known only to the world as SPACE and VIBES slowly emerge from the darkness and start the show.

With their first song, distorted, crunchy guitar opening up proceedings and thunderous booms of bass, before erupting into an apocalyptic big-beat bombshell that would bring a tear to Liam Howlett’s eye. The scathing refrain of ‘ten minutes to the end of the world,’ is unnervingly relevant, given the earth-shattering size of the music that surrounds it, and the visual element of strobe lighting in the performance really enforced the urgency and magnitude of their two-pronged attack. After three and a half minutes of electrifying energy, the storm subsides and you could be mistaken for thinking for more of the same is on the way. But this is where things begin to change, instead revealing a whole new dimension of influences that made for a truly mesmerising listen. Straight into now brand new single Karma Ya Dig!?, waves of reverb and delay wash over both sets of vocals and synths, unveiling a strangely soothing psychedelic ambience that certainly caught me by surprise. These two gentlemen’s vocals also harmonise so well together, that the phrase ‘I’ll see you on the other side,’ has lingered ever-presently in my subconscious since this day. A pseudo-industrial stomp gets us underway with a near punk-like sneer taking vocal duties, marching us towards a titanic guitar riff that wouldn’t go amiss in Britpop’s heyday and an overall vibe that feels reminiscent of The Chemical Brothers, albeit slowed to a pace you can headbang to. It certainly affirms that the big beat era of dance music circa 1990 onwards, has had a profound effect on this material. As if today’s electronic music producers and a punk band recorded together in a garage. It’s gritty, intense and energetic but without sounding lo-fi or unpolished. Astronomically far from it.

I must admit, that while their eight song set was nothing short of inspiring, it moved in a blur. I recall one track that had a dancehall style beat, some later present indie rock style influences and one track that which reminded me firmly of Does It Offend You, Yeah?, which in their own whirlwind of genre-smashing, is nothing but a compliment. They are an absolute sum of the parts of the people that work as the unit. SPACE, an in-demand punk and hardcore producer, with a reputation in the desert rock community to boot, and VIBES, a multi-talented instrumentalist and electronic music producer, that works with an abundance of live acts in and around London. Their union has formed something undeniably unique, and witnessing the translation of their chemistry together in the flesh with such a striking and impactful live performance, and the interactivity before the performance even took place, has made me fall in love with these gentlemen and get overexcited over what was to come. It truly was a privilege to be invited along and be part of this undoubtedly intriguing and involving movement.

The opportunity to see it for yourselves, lies on the 5th October at Bloc in Hackney, 8:30pm start. Prepare for an immersive dance experience unlike any you’ve ever encountered. If you want a further testimonial, I left that night with new friends, whom I realised I shared a closer connection to, than just being attendees to this exclusive performance. And I’m often a painfully awkward individual. If that isn’t something that asserts the power or the spiritual significance of the Black Futures experience, then I don’t know what will.

Join the Existential Expedition Club right here:

http://www.facebook.com/BlackFutures
http://www.twitter.com/BlackFutures

And if you want to join The Soundshark Subscription Club (that’s not really a thing, but you know…) then consider giving me a like, a follow, or by actually subscribing to the site via the link that should appear on this page:

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Useless Cities

Feel free to correct me if I’m wrong on this one, but it seems as if British indie has stumbled into a bit of a rut of late. Since arguably the last golden era of indie bands this country has produced, which by my estimates was around the mid-00’s, the amount of them has shrunk considerably since the turn of the decade. Some bands no doubt were able to consistently duplicate their success upon each album release, most notably the Arctic Monkeys, before they decided to turn American, and more recently Foals who seemingly been able to evolve critically from strength to strength. There are several bands hanging in there and have been for several years, like your Ashes, your Fratellis, your Cribs, your Subways for example, many bands whose glory days seem long gone but persistently release music to a loyal, adoring fan base, who continue to turn out to shows and keep motivation and spirits high to look forward to the future. Sadly, as the nature of technology and commercial success in the industry shifts so frequently, there are several bands who’ve become causalities in the musical landslide, as sustaining a career stretches further and further out of reach for those previously thrust in the spotlight and airwaves. These are dark days for British guitar music for sure, but under the surface, what you could classify as an underground resistance is currently producing some of the best indie you’ll have encountered in years. Useless Cities, hailing from the nation’s capital, are among that resistance with an ache in their hearts expressed exquisitely through a mournful touch of the piano and a melancholic pounding of the guitar.

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Though their emotions are not exclusively wired to wallow in sorrow, there is an ethereal and transcendent nature to Useless Cities’ music that melancholy brings the best out of. Their Stay EP though only three tracks long, is a wave of sonically cold but breathtaking musical splendour, combining unforgettable melodies seeped in calm composure, with an unexpected fury that riles their initial breeze into a hurricane of heartbreak. No track illustrates this exclamation point better than Follow. While Stay is a gorgeous piano-driven stroll through arctic plains and To Be Ruined, a far more spirited tumble through dreams that take a turbulent turn, it’s Follow that finely balances the band’s strengths perfectly. Delay-drenched guitar leads Follow in, with the booming of a near-tribal tom pattern from the drums, and the lightest touch of low end entering not long after, painting the scene for solemn reflection. Vocals wander in, listing things to do to an unspecified character, with his settled bellow against the melody of the guitar a strangely hypnotising presence throughout the song’s course. A bright shimmer of keys layer atop the instruments, sending a chill down the spine of the listener but adding light to this arguably greying atmosphere. This brings in the cymbals and snare of the drums, gradually shifting the tone into the subtlest of build-ups, masked well by the vocals and instruments while the grace and beauty of the piano becomes more prominent as the song progresses. Then in the song’s twilight, the guitar bursts into life with an eye-opening intensity and drums are beaten hard into submission, serving as a backdrop for the male and female chanting in harmony and the piano trying to restore a sense of tranquillity to this sudden gale of musical force. And the piano gets its wish, closing out Follow in the manner it began, a series of notes against the echo of the guitar, jerking the strings of your heart as the final note fades into the distance. What Useless Cities offer more so than a collection of songs, is an aural palette to paint your own stories from the emotionally stirring compositions they lay before you. How it affects you is left to your own semiotics, but know that they are exploring rarely traversed ground in indie and their own bittersweet twist on the sound we’ve known to grow and love, ranks among the best and most unique bands the indie scene has to offer.

 

 

Useless Cities’ Stay EP is out now at all respectable music retailers. Any more information you wish to know about them can be located on the band’s website. The band are also playing frequent live dates in and around the capital right now so keep your eyes peeled for a date near you, or bring them to your doorstep and book them for your own show.

Go give them your nicest words:

http://www.facebook.com/Uselesscities
http://www.twitter.com/UselessCities

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Track of The Week: Tiny Giant – Joely/How

A few months ago, a statement was issued on this site about the creative force behind Tiny Giant and that they are likely to be one of the most exciting acts to keep an eye on in 2016. That was solely based on two tracks on Soundcloud, with no prior release date, nor word of a forthcoming release, EP or album. Their forte is the melding of a mesmerising dream-pop haze à la Goldfrapp and a titanic progressive rock crunch; a near-unique pairing in a musical climate so vast and so adverse to standing out, that those tuned in, numbers growing daily, have awaited some form of release with bated breath. For those personnel, that wait has come to an end and if you are just joining us on the official maiden voyage of Tiny Giant, your timing couldn’t have been more impeccable.

Since the beginning of this year, the impression was given that Seeing Everything As Though It Is Real and Heavy Love may have been first for a public release, as the very first introductory tracks to this terrific musical partnership and as they have been now circulating Soundcloud for the best part of half a year. Come this month, that plan has changed as two brand new tracks have surfaced and continue to raise the bar for what is to come from the London duo. While Joely has been pushed as the headline act of the single, both sides Joely and How are equally important and enrapturing when it comes to distilling down the essence of Tiny Giant, and thus focus will be placed upon both of them.

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Where Seeing Everything… invoked that initial Goldfrapp comparison, Joely certainly completes it. Starting with what sounds like kick drums submerged under the ocean, a continual bright chord of synth keys raises the beat to the surface, igniting a glorious burst of synth, a near angelic level of vocals and if you listen carefully, a terrifyingly distorted wall of guitar that somehow slots perfectly in place into this seemingly innocent pop presentation. The burst is soon hushed to just the beat, the warm buzz of the keys and vocals, which although gentile and soothing, have a confidence worthy of the grandiose of the music backing it. Honestly, there is a grace to Chloe’s voice that not only exposes her own musical merits, but the merits of the compositions she brings to life. There are still traces of a trance-like state these verses can bring, but is not as potent as either of its predecessors were in doing so. Instead, that seems swapped for an overall feeling of bliss and rapture that the tone of the track brings together. As verses progress, additional cymbals and beats are added to the percussion and the guitar is allowed a full force bellow, highlighting the greater depth of their songwriting arsenal. No doubt, Joely is a beautifully composed, premier standard of pop music, more than worthy of radio rotation and again, brings attention to the incredible talents of Chloe Alper and Mat Collis. But it is perhaps flipside How, that elevates Tiny Giant from a mere airplay curiosity to a full-blown stereo juggernaut.

Ask yourself. Have you ever heard the vocal talents of any female artist front a post-rock style band, or track at a push? This isn’t of course a mutually exclusive event, but Chloe may be the very first I’ve encountered. Wailing guitars supersede the triumphant synth we saw beforehand, shifting the tone to a more melodic, but certifiably more melancholic one. Drums gather pace, the clattering of the snare injecting an urgency into the music the complete opposite to Joely’s sky-gazing demeanour while vocals take a siren’s approach to luring you into listening. The passage of Chloe’s notes held is utterly gorgeous, making that contrast between her and the drums crashing from behind a deeply satisfying experience. An underlay of those same notes sit below the verse as vocals weave their tale, drums refusing to let up which both adds a layer of the fantastical and the ominous in the build up to the chorus. The pay-off in which is something truly spectacular. An effects-loaded tremolo is nothing new in post-rock, but it’s the accompaniment of drums being pounded into the ground and the echoes of a serene female songstress that make the magnitude of this moment far greater than words can paint a picture of. As How progresses further, bass enters in an enormous fashion, giving the track an unexpected groove and swagger you could give a fan club and a jacket to, as well as meddling with the time signature a tad, something previously undisclosed from the duo’s output so far. It all lends itself to the track’s climax; a titanic thrashing of guitar, bass and drums, all with the refrain of ‘How do you do it?’ cried over the volume and density of the final sound attack.

There is a lot that goes on in the three and a half minutes of How to cover completely and absolutely, but to stand side by side with Joely, it makes this marvel of single that more compelling to onlookers. This demonstrates Tiny Giant’s agenda perfectly, granted in two distinct flavours, the ability to transition from a immaculately produced soul-charged pop single with atmospheric undertones, to a behemoth of guitar-fronted brute strength backed by beats that could pulverise your bones into dust. Perhaps the correct summation of their namesake really. I implore you. Keep Tiny Giant under careful watch. Their talent alone is worth its weight in gold, but with twists and turns rapidly emerging from the song library they are crafting, you need not another reason to believe why they are becoming one of the most exciting bands of 2016.

Joely/How is available now at all good respectable music retailers, as word on an upcoming full-length release or EP is still rather hush-hush. For now. All other songs, while not yet available, can be located on the Tiny Giant Soundcloud page for your listening pleasure. They are also tentatively playing live dates at the moment, but go book them so they get greater exposure and all that jazz.

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