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FEATURE: Scenius set the scene for their debut album ‘Enough Fears’

By
Frank
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0

Scenius are Leeds’ based producer Steve Whitfield (The Cure, The Mission, Yann Tiersen…) – who also plays guitar in post-punk band Klammer – and French singer Fabrice Nau.

They make deliciously dark and moody retro but bang to date electronica – I know that’s a strange way of describing them, they use analog synths but the production is ‘of now’ if you get what I mean – that is influenced by those post-punk electronica bands, ‘original’ electro-pop bands, as well as more recent music. Their music is dark, has depth, and more importantly has heart and soul.

They’ve released four singles – ‘Darkest Lines’, Glass Rain’, ‘Held’ and ‘Wild & Wooly’ – with another ‘Make It Shiny’ due out soon.

I came to Scenius having reviewed Steve’s other musical outlet – the post-punk band Klammer – both releases and live. And I’ve fallen big-time for their ‘retro’ electronica influenced sound. Hearing that their album was out soon it seemed a good time to ‘talk’ (I say ‘talk’ because due to various things I was forced to do this by email) to the duo.

What did you both do musically before Scenius, or indeed at the same time as Scenius?

Steve: I’ve been in loads of different bands since I was 17, playing synths, guitar and bass. Currently I’m also in the guitar driven band Klammer. I’m also a producer/engineer, so I get to work with lots of different bands and musicians. I’ve learnt a lot from that, how to do things and sometimes how not to do things. I was lucky to be the engineer on The Cure’s Wish album and I definitely learnt a lot of great things from Robert on how to organise/run a band.

Fabrice: I started playing guitar and singing in a band around 16. We were getting rather bored in the small town where I’m from. So, when we read in magazines that some bands we were then getting into – mostly UK post-punk, French new-wave, Belgian EBM and US garage pop – had formed without taking any music lessons first we’ve thought “hey, cool, then we could do this too”. This band went on for about 10 years. We played noisy guitar pop in which we ended up adding samples and synths. After working for the labels that released our records, I also started my own label. Then, as studio tools were getting more affordable, I started to delve into recording, mixing and producing.

How did you two come together as Scenius?

Steve: I recorded Fabrice’s guitar band years ago and we got on really well and stayed in touch. He came over to England last year and popped into visit. He saw my studio and asked if I still used my old analog synths. When he got back to France he asked if I fancied trying to write some songs together using the old synths. Once we’d done the first one there was a burst of creativity and very quickly most of the album came together.

You live on opposite sides of The Channel – Steve lives in Leeds and Fabrice lives in France. How does putting together the songs work?

Steve: We both have studios at home and we’ve been sending files, emails and Face Timing to write, record and mix the songs. Fabrice and I haven’t been in the same country, never mind the same room through the writing and recording of the singles and album!

Fabrice: I more precisely live in Angers. In a way we’ve had a long tradition of putting things together with people beyond the Channel here since the Plantagenêt inherited the throne of England ☺ Just kidding of course. I keep saying that we’re really lucky to live in a time when technology makes all this possible. It would have definitely been much harder for Scenius to exist only 10 years ago.

There’s a certain darkness, and sometimes a bleakness, in Scenius songs, is this something you’re both attracted to?

Steve: Yeah I’ve always been attracted to darker sounds and songs, but at the same time I’ve always liked good pop music. So even if it’s bleak it still has to have a good melody. To get all muso about it, I think I’m very attracted to minor key melodies. I like those odd notes that almost sound wrong.

Fabrice: I wouldn’t say I’m attracted to music that’s dark for the sake of it and I definitely enjoy uplifting music too. When I heard Steve’s tracks for the first time I was simply touched by the soul they got. Which is what I need to feel to put vocals and write lyrics. It felt inspiring – and challenging too: you don’t want to ruin a great track with lame vocals ☺

While I hesitate to use the phrase – but I’m going to anyway – there is a retro electronica feel to Scenius’ music. This seems to be something that electro-pop in general is moving towards. Is this deliberate on your part or does it just reflect your influences?

Steve: From the start we did decide to use as much vintage synths and drum machines as possible and really limit the use of more modern equipment. But saying that it was all recorded and edited and then mixed using modern software (Pro Tools). We also play a fair bit live into the computer rather than using midi and then over quantising (tightening up) the notes. I think that’s helped keep a warmth and a bit of human feel to it. There were no preset sounds used either, each sound was hand crafted to the song.

Fabrice: So you’re definitely right about the retro approach but we also wanted to find our way to take this heritage forward. So we’re glad that that’s generally what people say about our music: they can hear where it comes from but they’re also enjoying that it’s got a modern and personal approach to it. What we also like in the great tunes of the late 70’s/early 80’s era is that they would always have an unexpected, twisted side to them. So that’s probably another thing that we’re trying to keep retro in a way. I tend to feel that today’s electro-pop is too often obviously aiming for mainstream success.

This is one for Steve. Klammer have covered some electronica classics – like ‘Being Boiled’ – albeit in what I describe as a Klammified way. Has this cross-influenced the distinct post-punk sounds in some of Scenius’ music?

Steve: When I first got into music I got into punk/post-punk and Kraftwek at the same time, so noisy guitar and synths have always been with me. Someone once said I play guitar like a synth player and that I play synth like a guitarist! So I guess those two influences are in both bands. As Klammer did a synth classic (Being Boiled) and only used guitars to make it their own, if Scenius ever did a cover I’m sure we’d pick a guitar song and only use synths. I like covers that are completely different from the originals

You’re releasing your first album – ‘Enough Fears’ – in early December. Was an album planned right from the start of Scenius?

Steve: No not really. We originally just wanted to work on a track or two just to see if we had anything, and then bang! We had almost a whole album’s worth of songs written very quickly last year. After 6 months of writing together we knew we were going to do an album

What can we expect from the album? Are there any surprises, things that are going to make us sit up and say ‘well I didn’t expect that’?

Steve: Mmm that’s a hard question Frank. We’ve just done what feels natural to us, so I’m really unsure whether there’s any surprises. I guess that’s for the reviewers and public to decide on that one. So far I’m really pleased that people have been saying that it’s influenced by early electronica but at the same time sounds like it’s contemporary for 2020.

There seems to be a theme to the songs – a certain foreboding, a sense of apprehension, as where we are as a world right now, and where we are going. Am I right, or am I just reading something into the songs that isn’t there?

Fabrice: I never start writing lyrics with a subject in mind. In fact, most of the time there’s bits of lyrics that come along as I’m trying to come up with a melody. I quite like that kind of automatic writing. When I write the final lyrics to the melody I try to preserve those bits and kind of build around them. But that doesn’t mean that there might not be an unconscious common theme somehow. In the end I’d say that anything you’re reading into the songs is there as long as you’re reading it. It’s just that not everybody will read exactly the same thing and that’s cool.

Scenius is currently a studio based project, is this something it’s going to stay as? Would you ever consider bringing it to the live stage?

Steve: We definitely want to go out and play live. We have already started work on the live set and I’ve bought some new synths to take out live, as I don’t want to take my old analogs out on the road (too precious and unreliable)! I’ve taken it all out to Klammer’s rehearsal room and blasted through the PA to check it’s going to work.

Fabrice: We’ve already got one serious gig offer, in France, which has made us have to think about that probably earlier than we’d have otherwise. Hopefully more opportunities will come in so it’ll make it worth putting money into shiny silver leather suits.

Time, and I’m sorry, for that old music journalist chestnut. Musical influences.

Steve: I think I’ve been pretty much influenced by everything I’ve listened to and worked on (the good and the bad). If I have to mention a few bands it would Bowie, The Beatles, Joy Division, Kraftwerk, The Cure, Orbital, Boards Of Canada, LCD Sound System and ……

Fabrice: Same for me. There’s lots of others of course that I’m never bored to listen to like Neil Young, The Clash, Leonard Cohen, Lou Reed, Serge Gainsbourg, but they’ve had a lesser influence, if any, on Scenius’ album apart from the inspiration they provide in general.

And finally, is there anything in the pipeline for after the album?

Steve: Well we already have the bones of 8 songs for the next album! So it’ll be full stream ahead to work on the 2nd album and get the live thing happening.

Pre-save the album: https://wiseband.lnk.to/Scenius-Enough-Fears
Scenius on Facebook: https://www.facebook.com/sceniusband/
Scenius on Spotify: https://open.spotify.com/artist/0DhqkdgVaHX7GQHCS7tQv8?si=y6l6dSF8RQi5tM7TqLvjgA

 

SINGLE REVIEW: Cliché Cult – ‘Common Ground’

By
Frank
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0

There is something really compelling about Cliché Cult’s debut. It’s the smooth mix of influences into what I’m going to describe as special.

So yes, at first listen you’re going to get that mix of alternative and indie rock but there’s way more to it than that. There is something of a post-punk sound in there – post-punk in the way of say Echo and the Bunnymen. There are some rather wonderful hints of Orange Juice, and a dash of The Associates. Mentioning The Associates leads me to another point; this song has pop sensibility written all over it; it has a tune that’s horribly catchy, lovely touches of light jangly guitar. It does that really great thing of treading that fine line between rock and pop.

Other things to love? Plenty. Some fantastic guitar that does that alternative rock sound but in a really subtle and clever way. The vocals are fab – ranging from post-punk to soaring alt-rock to pop. The production is spot-on, it’s a dense sound but it manages to be light and spacey at the same time.

Cliché Cult are a band to watch, for a debut this is impressive, really impressive.I’m looking forward to hearing what’s coming.up from them next.

The info

‘Common Ground’ is the debut single from Leeds based four piece Cliché Cult. Written in the depths of Kirkstall and born out of the band’s very first Jam session, they believe that this song is an accurate depiction of every band member’s influences and vision for the future.

Recorded at Beat Street studios in September 2020 by Darius Kiani and Tim Drucker.

They formed in June 2020, when lockdown had just been lifted, with each member coming to the project with varied experiences and musical backgrounds.

Influences include; The Strokes, Arctic Monkeys, Talking Heads, Echo and the Bunnymen and many more.

Band members:

Jimmy Sweeney – Vocals and Rhythm Guitar
Robin Green – Drums
Jake Clayton – Lead Guitar
Jimmy Ingham – Bass

Facebook – www.facebook.com/clichecultband
Instagram – www.instagram.com/clichecult/
Twitter – twitter.com/clichecultband

EP REVIEW: Concrete Armbands – ‘I Don’t Like People Who Think They’re Above Everyone Else’

By
Frank
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0

What I love about Concrete Armbands is that you never know what they’re going to do. They’re quite capable of doing a country-ish song or a big art-rock song, as well as making some of the heaviest music I’ve heard; although they’re capable of hiding that in a song that starts off sounding electro-pop. So each release is something of a journey of discovery. It also leads to people saying to me ‘Well Frank I liked that song a lot, but why in the hell can’t they sound like that all the time?’. My response is usually an argument starting with the fact that all bands have different influences, and if they want to express those, then that’s a good thing, and ending with the fact that Queen/The Doors/ Led Zeppelin/Bowie did all sorts of things (often on the same album), and they should ‘open their minds’. I don’t agree with the ‘bands should sound the same all the time’ thing. Equally, and for clarity, I feel that if bands chose to make music that is in the same style/genre then that’s fine as well.

Crucially across all of their songs there’s a feel, an approach, that marks them out as Concrete Armbands’ songs. And this is true of all good or great bands that do different styles or genres of music; you need some sort of anchor to go on the band’s musical journey with them.

A siren introduces you to the EP’s first track – ‘White Noise’, I say ‘introduces you’ but that should be ‘warns you’. This track is heavy. It has loud and – relatively – quiet sections – contrast is good. But the loud sections are loud, riffy, punk tinged, as heavy as metal. The vocals are equally as punky and metal-y. It’s a riot of sound. But there’s nuance in the sound – slashing sounds in the quieter sections, backing vocals to die for, surprising bits of keyboards. And if you can imagine heavy 70s’ Glam that’s what it sounds like at points, it even manages to sound like a way heavy Deep Purple at one point. And as it fades out into white noise you are left reeling.

So at this point I think I know where this EP is going, I’m wrong, so wrong. It is the classic Concrete Armbands’ bait and switch.

‘Baseball Bat’ is something else entirely. Yes, there are guitars but the sound is angular, machine funky. The vocals are something else My first thought was there was something of that angular post-punk funk sound of The Gang of Four, more than a hint of Heaven 17; at least until it takes off into madness, madness that builds, madness that takes over your brain.

That mad angular noisy sound continues with ‘Strawberries’. This time with something I’m going to describe as art-rock thrown into the mix. It swirls, it whirls. Bass throbs, vocal harmonies come at you unexpectedly. And then it stops, it stops leaving you wanting more, so much more.

The lead single from the EP – ‘Sertraline’ – is up next. I reviewed this when it came out. I’m standing by what I said.

‘I have a mixed feeling about songs about prescription drugs – one that oddly I don’t share about songs about ‘recreational drugs’ – in that once a drug gets to the stage where bands are writing songs about it, it’s reached some sort of ‘cult’ status which doesn’t reflect it’s actual usefulness as medication for certain conditions. In the case of Sertraline, this mixed feeling is intensified because I take it for my own mental health condition.

‘Concrete Armbands are in heavy mode on this track. It sounds like a mix-up of grunge and, oddly, math-rock. It either grinds out heavy guitar riffs, is bright and stabby, or does that strummed guitar to heaviness that grunge does. In one of my previous reviews I said that their song sounded a bit like a heavy Sparks, and that’s what this song does sometimes’.

The fact that I love this song musically however outweighs my uncertainty about the song’s topic.

‘I Don’t Like People Who Think They’re Above Everyone Else’ – the EP’s closer – might be trying to compete for a long title award (see below for some, let’s call it trivia). Sounds to me like some mad Sensational Alex Harvey band song – it’s that spoken intro, or possibly System Of A Down if they played art-rock. However you chose to describe it, it’s scarily good.

The theme that connects the songs on this EP is musical. They all have something of a heavy mutated, slightly punky, art-rock feel to them – in variable amounts. They all feel angular, and for that matter, angry.. And as I’ve come to expect from the band they are full of surprises, at times surprises that jar. But they are so good musically that that jarring is part of the song’s feel, it’s not a ‘throw something random in just to throw off the listener’ thing. It’s good to be jarred at times, surprise is good.

The playing is, and I’d expect nothing less from them, flawless. The musical mix-ups they do wouldn’t work if they weren’t. The sound is great, there isn’t one point where I’d say well that just isn’t right.

This is another great great collection of songs from Concrete Armbands. The songs throw you curveballs but because they have that ‘band feel’ I’ve come to expect, the change in style isn’t a shock. It’s just another step on a musical journey for a band who tread their own path. And long may they continue to do that. Go listen now, you won’t be disappointed.

Long song titles

10 words in the title – which is what ‘I Don’t Like People Who Think They’re Above Everyone Else’ has – is basically not trying hard enough. The following is a list of song titles that you’ll say ‘how in the hell did the cover art designer fit that on’:when you see them

  • Sufjan Stevens – ‘The Black Hawk War, or, How to Demolish an Entire Civilization and Still Feel Good About Yourself in the Morning, or, We Apologize for the Inconvenience but You’re Going to Have to Leave Now, or, ‘I Have Fought the Big Knives and Will Continue to Fight Them Until They Are Off Our Lands!’. It feels wrong smiling at a song title that’s so serious
  • PJ Harvey – ‘A Woman a Man Walked By/The Crow Knows Where All the Little Children Go’. Fairly lightweight at 15 words
  • The Flaming Lips – ‘My Cosmic Autumn Rebellion (The Inner Life as Blazing Shield of Defiance and Optimism as Celestial Spear of Action)’. Trying a bit harder
  • Pink Floyd – ‘Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict’. Not strictly a song but hey!
  • Death Grips – ‘You Might Think He Loves You For Your Money But I Know What He Really Loves You For It’s Your Brand New Leopard Skin Pillbox Hat’
  • Christine Lavin – ‘Regretting what I said to you when you called me at eleven o’clock on Friday morning to tell me that one o’clock Friday afternoon you were gonna leave your office, go downstairs, hail a cab, to go out to the airport, to catch a plane, to go skiing in the Alps for two weeks. Not that I wanted to go with you; I wasn’t able to leave town, I’m not a very good skier, I couldn’t expect you to pay my way, but after going out with you for three years, I don’t like surprises. (A Musical Apology)’. Yes really
  • Panic! at the Disco – ‘There’s A Good Reason These Tables Are Numbered, Honey, You Just Haven’t Thought Of It Yet’. Panic! At The Disco have form when it comes to long song titles

SINGLE REVIEW: Vala – ‘She’ll Play Heck’

By
Frank
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So not only do we have the thrill of a new Vala release, but this comes with news that this is the lead single release from their upcoming EP ‘Swimming Kit’. And if this is sign of the sounds on the the EP, then boy are we in for a treat.

I’m not going to say ‘well this is a different sound for Vala’. It is, but they have a tendency to surprise you with a new sound, a new feel, with nearly every release. The excitement is finding out what they have done this time.

And this time, they’ve taken their indie-ish sound and taken it in a kind of Strokes, Tame Impala kind of way. I might also add that there’s something of a Killers feel. There’s something of what I’m going to call an electro-indie-pop feel. There are some very definitely retro sounding keyboards in there – and I love retro sounding keyboards. But the thing that is still there, and very much part of the band’s trademark, is a great tune. And it’s high in what I’m going to call pop-sensibility. So yes, there’s an unmistakable indie-pop feel but it’s more poppy than indie – even with the rip-roaring guitar that sneaks in, that’s such a joy.

The other thing that is very much Vala is to throw in something that comes from way back. And here that’s an 80s’ electro feel. Every time I listen to it, there’s something nagging at the back of my head about a band from then it reminds me of, but it has never so far managed to get to the front of my head.

It’s brilliantly put together, played, and the slighted fx’ed vocals are fab. But then again you’d expect that from Vala.

Enough of my ramblings, this is a fantastic poppy feel good song. Dance to it, listen to it, it’s your choice. Whatever you choose, this is one for all of us when we need a great pop song, and we all need that, don’t we?

The info

After receiving support from BBC Introducing in Manchester and Amazing Radio for their previous two singles (Say You Want It (That Way) and Only One) Vala doubled down in their makeshift home studio and got to work on the Swimming Kit EP. Entirely self produced and inspired by The Strokes, Tame Impala and the prospect of staying indoors for the foreseeable future, it was then mastered by friend, housemate and long term collaborator Mathieu Garcia (who’s recent work with Ellysse Mason has been featured on BBC Radio 1).

‘She’ll Play Heck’ is the first cut from the EP and was written safe in the knowledge that it wouldn’t have to be performed live any time soon.

Vala are:

Joe Knowles – Vocals, guitar
Matt Hill – Drums, backing vocals
Tom Wynne – Bass
George Hill – Guitar

SINGLE REVIEW: Alice Ashcroft – ‘dungarees’

By
Frank
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0

This is strangely the second song I’ve reviewed entitled ‘dungarees’ – the first being by Megan Isobelle. However that song was about confusing feelings for a friend and life as a young teenager, and explored sexuality and friendships, whereas this song likens a relationship to the comfort of wearing dungarees.

There is more to the song than this. Written during lockdown it explores the need we’ve all felt for comfort from our loved ones – although it isn’t specifically about lockdown. And it retains a degree of ambiguity of who that loved one might be – partner, parent, best friend. This makes it a universal song. In short the words are great and full of emotion.

Musically, as with ‘I Won’t Think About This’ – the single from Alice that I reviewed about a year ago – it treads the lines between pop, folk and rock. It’s undoubtedly pop, or perhaps better put as pop-ish; it has a tune to die for, you could dance to it; but it has elements that are certainly not pop as we know it. It includes some rather wonderful electric mandolin (that’s what it sounds like anyway) as well as acoustic mandolin, and some big sounding rock swells. The blurb that came with ‘I Won’t Think About This’ described her sound as prog-pop but I felt that this wasn’t strictly a true reflection of the sound. I’m kind of toying with the idea of alt-folk rock as a way of describing this release. There are hints of Joni Mitchell, Fleetwood Mac, Fairport Convention swirling around in there, as well as pop and rock.

Enough of that, let’s get to Alice’s voice ( and not before time I hear you say) – this is the thing that holds this song together. Her voice is frankly incredible – at times she’s folk-ish, at times pop-ish. Her voice is compelling.

Look rather than try to put her into a niche – us music reviewers love to do that in some way – I’m going to say that this is a beautiful song that’s wonderfully put together with a range of, sometimes eclectic, influences and sounds. It’s truly wonderful, unexpectedly catchy and earwormy. Lovely stuff.

 

GIG NEWS: Doves announce gig at The Piece Hall, Halifax – Saturday 19th June 2021

By
LSF Staff Writers
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The Live at The Piece Hall series has added a further legendary name to it’s 2021 line-up, as Manchester alternative rock band Doves has been announced to play a special outdoor performance at the Halifax venue in June.

Doves will come to Halifax on Saturday June 19th, following the release of their 5th studio album ‘The Universal Want’ on EMI in September 2020.

After meeting at the renowned Hacienda club in Manchester and forming dance act ‘Sub Sub’ (reaching number 3 in the UK Charts with ‘Ain’t no Love (Ain’t no use)’, Doves surfaced after Sub Sub’s studio burnt down, prompting the decision for Doves to be born as an alternative rock act.

Since that twist of fate, the band have released three number 1 albums, becoming one of the most influential and respected guitar acts of the last 20 years. Combining a blend of indie rock, shoegaze and soundscapes fit for stadiums, Doves have held a place in the hearts of alternative music fans across their increasingly consistent catalogue. After a 10-year hiatus, the band shot to number 1 with ‘The Universal Want’, and this special show at The Piece Hall will form part of a greatly-anticipated return to live music.

Joining the line-up with Doves are Mercury Music Prize-nominated singer-songwriter Nadine Shah, fast-rising indie rock band Pip Blom, alt-pop newcomer Sfven plus a main support act still to be announced.

Other exciting acts already confirmed for ‘Live at The Piece Hall’ 2021 include the legendary Nile Rogers & CHIC and indie rock heroes The Cribs.

Tickets for Doves plus special guests will go on sale from Seetickets, Gigantic and Lunatickets from 10am on Friday 6th November. The Piece Hall will be running a members pre-sale for 24 hours from Thursday 5th November at 10am.

SINGLE & EP NEWS: Dirty Freud new single ‘Moments’ out 6th November, EP ‘Love In The Backwater’ out 27th November

By
LSF Staff Writers
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Dirty Freud planetary science fiction photoshoot, photography by daniel allison photography, art direction by ben tallon, video by jake powell.

‘Electrodub’ renegade DIRTY FREUD is lining up a new single for release on 6th November: ‘Moments PRE-SAVE HERE.

Red pill? Blue pill? “Moments” is inspired by those split decisions and the eternal consequences they can have.

“In life it only takes a moment or choice to decide how things go. And in life moments shape us as people good or bad” says Dirty Freud of the track.

Beginning its life in the Tresor and Hansa Studios of Berlin, clubland is in its very DNA. A clash of sounds and genres, from its ominous old skool rave nods to its stuttering post dub-step crescendo, ‘Moments’ is at once foreboding, sense-heightening and utterly intoxicating, it’s a stark and thrilling paean to the paralysed nightlife scene.

Finalised at Manchester’s electronic institution Blueprint Studios and the legendary Yellow Arch Studios in Freud’s hometown of Sheffield, ‘Moments’ forms a quarter of an upcoming EP: ‘Love In The Backwater’ – set for release on the Modern Sky UK label this November.

Dirty Freud is an award-winning electronic live & recording artist from London, now living in the North of England. He has worked with an array of DJ talent including Jon More (of Cold Cut), DJ Krush, and Dave Haslam; as well as established artists including Leeroy Thornhill of The Prodigy, Scott Garcia, Willy Mason, Big Narstie, Pixie Lott, and even Iggy Pop.

Alongside new release ‘Moments’, the EP will include previous singles ‘Blood Bayou’ and ‘Intentions’.

Website: dirtyfreud.com
Instagram: @dirtyfreud
Twitter: @dirtyfreud
Facebook: www.facebook.com/dirtyfreud

SINGLE REVIEW: Femur – ‘Misery Express’

By
Frank
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0

As you may have worked out I have something of a thing about psychedelic garage grunge bands. It’s those waves of sweet noise that wash over you. It’s immersive, it takes you completely out of the stress and anxiety of everyday life into a world of whirling swirling sound. It’s more than a thing; it’s a yen, a need, an addiction.

People, and you know who are, have said to me ‘but it all sounds the same’ (People, other people, used to say the same to me about some of the extreme metal bands I listened to in my youth). My response is, and was back in the day, to say ‘but they don’t, you’re not listening properly’. So to take a trio of bands as examples; DENSE add a dash of acid rock, dark psychedelia and garage, Fuzz Lightyear a sprinkling of post-punk and metal, and Brooder hard riffing grunge. – you see not the same at all.

Femur – the second to last band I saw and reviewed before lockdown, and what a gig that was, one of my all time favs – do psychedelic grunge; there’s more to them than that but that’s the basics.

‘Misery Express’ is frankly terrifying. There’s no other way of putting it. That is, of course, terrifying in a fantastic way. It opens in a kind of sludgy way, a guitar on the edge of falling apart, but that’s just the calm before the storm. It bursts into something akin to psychedelic speed punk; it’s loud, guitars lose the plot, vocals come at you in a way that reminds me of the MC5. And then it just falls into a woozy psychedelic section; languid voices, a rather lovely female vocal sound in the style of Gong. And then bursts into life, to be replaced by another woozy psychedelic section that, somewhat surprisingly, degenerates into what I can only describe as a football chant, before it bursts into wild noise again.

Taken in sections it sounds a mess but as a whole it isn’t. The whole is magical, chaotic, wonderfully unpolished. And all that with references to trains, although I’m not entirely sure that’s what the song is about. The video helps, people, honest it does.

It’s raw, it’s rough, it’s bloody feral, it’s one part psychedelic proto-punk and one part out-there acid driven psychedelia. It’s music made because that’s what the band like doing, and it sounds like it does because that’s what they want it to sound like. It sounds like they’ve barely rehearsed it at some points, but it isn’t, there’s a structure, a method behind the madness of sound.

And yes, if you wanted to make the grunge thing comparison; it’s there, just in a rather out-there and mutated way. So mutated you have to listen really hard to get it. A hint, just listen to the way the song’s fast and slow sections are put together.

‘Misery Express’ is a joy, a beautiful trip. It sits on the outer outer edges of the musical universe of psychedelic garage grunge, it’s a hard place to get to, but the effort is worth it. I fucking love this song. Get on board that Femur train right now.

The info

Sheffield’s Femur consists of Felix Renshaw (Vocals/Guitar), Ed Burks (Guitar), Ryan Gillvray (Bass Guitar/Backing Vocals) and Danny Cox (Drums). The 4-piece have gained quite the reputation since their inception by repeatedly destroying each and every UK stage they get their claws into, having caused chaos at the likes of Shacklewell Arms (London), Night & Day Cafe (Manchester) and their beloved and hardened Washington (Sheffield).

The band were lucky enough to have squeezed in a full UK tour ending just days before the dreaded lockdown, which saw a number of venues falling victim to their sonic lunacy. With the absence of live gigging temporarily halting the ever-powerful ‘Femur’ train, the group are ready and waiting with their foot on the accelerator to get back to what they do best. Frontman Felix explains: ‘we thrive in the underground, packed to the rafters, sweat-pit venues, and we feel that that is where our sound and energy comes across best’. Although the full ‘Femur’ experience may be impossible right now, ‘Misery Express’ and its accompanying video is undoubtedly the closest thing to it.

https://www.facebook.com/officialfemur

SINGLE & ALBUM NEWS: Micko & The Mellotronics drop ‘Psychedelic Shirt’, Album ‘½ Dove – ½ Pigeon’ out 27th November

By
Frank
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With their debut album rapidly approaching, Micko & The Mellotronics have dropped another of its finest cuts – ‘Psychedelic Shirt’.

In a true coming-of-age tale that unfolds like an episode of The Inbetweeners set in the 1980s, ‘Psychedelic Shirt’ takes us back to an era where the culturally cool was at loggerheads with Thatcherite careerism. An era where tribalism was rife, and no-less-so than on the dancefloors of the local disco.

It’s a familiar set-up that any teenager trying to fit-in has inevitably found themselves in. Right shirt, wrong crowd. Or vice-versa perhaps… As Micko Westmoreland tells us:

“Psychedelic Shirt tells the story of venturing to an out of hours school disco in a dishevelled scout hut in Leeds. Where Top Man flick heads had seized upon my newly procured paisley shirt and sought about destroying it. I’d taken it off because I was too hot, left it on a peg in the boy’s loos. Later, I found the article, ‘mopped up in the fluid, screwed up in a ball’ on the lino floor as the song’s lyrics state. I was forced to make a choice between victimhood or empowerment but left contemplating shades somewhere in between…”

A song about finding teenage identity, in an embryonic & fragile state, subject to change and ridicule; it’s one that will resonate with anyone who has been made to feel they didn’t look the part. “It was a pivotal point in personality development.” says Micko. “A voice came from deep inside at the moment of discovery, ‘This is just too pants to fall to pieces over’.”

The track was produced, arranged & mixed by Jon Klein (Banshees/Specimen/Batcave club) and Micko Wesmoreland.

The track will feature on ‘½ dove – ½ pigeon’, the upcoming debut album by Micko & The Mellotronics – out 27th November 2020, via Landline Records. “I titled the record ½ dove – ½ pigeon because I thought it was an honest reflection on how most people see themselves…” muses Micko, setting stage for a record of a very different breed.

Fronted by Micko Westmoreland; a musician, actor and creative already well known for his solo releases under his own name and material as The Bowling Green; ½ dove – ½ pigeon is the first release in which he is joined by his impressive backing band: The Mellotronics. Forming in 2017, the Mellotronics initially began playing out as a three-piece with founding member Nick Mackay (drums) and the enigmatic addition of Vicky Carroll (band “wicket keeper” and bass player). In 2018, the band were joined by revolutionary guitarist Jon Klein (Siouxsie & the Banshees/Specimen, and founder of the iconic Batcave club) who also adds his flare to their upcoming debut.

From the observational to the personal, the record sees Westmoreland put the world’s peculiarities and his own fascinations under the microscope. From blowing apart the petty and mundane in life with rollicking ripostes (Noisy Neighbours) to reflections on the passing of time (You Killed My Father), punk-rock ditties about Filipino dictators (Imelda) and philosophical fantasies about the works of eminent psychologists (The Fear); a kaleidoscopic gamut of topics are covered in a record packed with references to pop-culture, philosophy, history and much more.

Over the years, Westmoreland has built up an array of TV & film connections; most notably with a starring-role in the cult 90s movie Velvet Goldmine, but also composing soundtracks with acclaimed sibling Wash Westmoreland (Still Alice, Colette). Naturally, Westmoreland’s love of drama intrinsically spills into the record too.

A stellar array of special guest musicians also feature, including The Specials’ bassist Horace Panter (a friend & collaborator who has worked with Micko on an annual charity record alongside Rat Scabies for the last 7 years), horn impresario Terry Edwards (PJ Harvey/Madness/Nick Cave) and alternative violinist in excelsis Dylan Bates (Waiting On Dwarfs/Penge Triangle), plus the late Monty Python/The Rutles/Bonzos great: Neil Innes. Early videos for featured singles ‘The Finger’ and ‘Noisy Neighbours’, have also seen the band working with actors Paul Putner (Little Britain) and Susy Kane (The I.T. Crowd, Gavin & Stacey) respectively.

Mixed, produced & arranged by Jon Klein & Micko Westmoreland, ½ dove – ½ pigeon was recorded at the Overlook Hotel in Hampstead & Kings Cross. The album was mastered by Wes Maebe at Sonic Cuisine. Drums were additionally recorded at Soup & Hermitage Works.

An album of slick new wave and razor-edged rock’n’roll, packed with even sharper quips and bone-dry witticisms; ½ dove – ½ pigeon invites you to revel in the obtuse and celebrate pop’s avant garde with a novel and inclusive sense of fun.

Micko & The Mellotronics release ½ dove – ½ pigeon into the wild on 27 November 2020, available via Landline Records: http://landlinerecords.com and distributed by Republic of Music.

MUSIC INDUSTRY NEWS: UK Music reveal findings of the 2020 Workforce Diversity Survey in its UK Music Diversity Report 2020

By
Frank
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Since its launch in 2016, the globally respected survey tracks progress to boost diversity and inclusion in the UK’s music industry.

It also unveils a bold Ten-Point Plan to put the music business “front and centre” of the drive to tackle racism and boost diversity in Britain. Find out more here.

The survey collates data from across the music business including studios, management agencies, music publishers, major and independent record labels, music licensing companies and the live music sector.

The findings of the survey give the music industry, Government and other stakeholders an unparalleled insight into where improvements are needed regarding diversity and inclusion – and highlights where positive change is already under way.

The survey is overseen by UK Music’s Diversity Taskforce which has worked since it was established in 2015 to boost inclusion and diversity across the industry.

Read the report here
UK Music Diversity Report pages on the UK Music website

Among the key findings of the 2020 Music Industry Workforce Diversity Survey are:

  • Representation of Black, Asian and other ethnic minorities among those aged 16-24 in the music industry stands at record 30.6% – up from 25.9% in 2018.
  • Proportion of women increases from 45.3% in 2016 to new high of 49.6% in 2020.
  • Number of people from Black, Asian and other ethnic minority communities at entry-level rises from 23.2% in 2018 to new high of 34.6% in 2020.
  • Number of women in the 45-64 age group drops from 38.7% in 2018 to 35% in 2020.
  • Representation of Black, Asian and other ethnic minorities at senior executive levels rises from 17.9% in 2018 to new high of 19.9% – but that means they fill just one in five senior posts.

 

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