Up-&-Coming// Two Wounded Birds

Fresh from the fields of Worthy Farm, after their triumphant performance on this year’s Glastonbury Festival’s Introducing Stage, big things look to be set for Margate based; Two Wounded Birds.

Forming on the tail-end of 2008, brought together through “a love of music from a bygone era.” Heavily influenced by The Beach Boys, The Doors and Rock ‘n’ Roll in general, as shown in their debut EP “Keep Dreaming Baby” and recent double a-side single; “All We Wanna Do/Midnight Wave.”

Baring a striking resemblance to The Drums meets The Vaccines on “All We Wanna Do” unleashing a punchy, punk guitar riff and general conciseness. Yet debut EP title track marks the true sound of Two Wounded Birds, with a Beach Boys similarity purveyed through front-man Johnny Danger’s whimsical, melancholy vocals with a distinctive surf-pop twee. Also through “Summer Dream” with it’s title sounding as though belonging to the “Grease” soundtrack, yet the evident Eddie Cochran influenced intro and instrumentation is it’s definite strong point under Danger’s signature vocal styling’s. Yet a different side of the band is shown through the moody, darker songs from “Keep Dreaming Baby” such as “I’ll Come and Get You” and “Night Patrol.”

Already making quite a name for themselves, with fans such as The Drums’ Jacob Graham, who released their debut EP on his own label; “Holiday Records.” But off the back of their Glastonbury performance, Two Wounded Birds will hopefully start to receive the recognition and success that they deserve.

For Fans Of: The Drums, The Beach Boys.

Listen To: “Keep Dreaming Baby,” “Summer Dream.”

Jonathan Hatchman.

Single// Sulk, Wishes.

‘Wishes’ is the euphoric, highly anticipated debut single from baggy revivalists: Sulk.
The track opens with an arpeggiated, shoegazey guitar riff that carries on throughout, screaming the word “Britpop” and sounding as though it belongs on either Blur’s Leisure or The Stone Roses’ Second Coming - purveying underneath Jonathan Sutcliffe’s wispy, insouciant vocals and a plodding drum beat; manifesting itself to sound all-in-all like an early 1990’s feel good summer anthem.
‘Wishes’ perfectly fits in with the recent brooding Britpop revival, such as the reunions of Pulp and Suede alongside the mainstream appeal and success of bands such as Brother and Beady Eye. Plus who knows, if sulk keep on writing and producing records to this standard there may even be a full on acid-house resurrection on the cards?

Jonathan Hatchman.

Single// Elephant, Allured.

“Allured” is the forthcoming second single from London based synth-pop outfit; Elephant. Following their well received debut “Ants.”

The song is broken into with an immediate introduction of Amelia Rival’s touching, woozy vocals before any sign of instrumentation at all, yet followed by the build up of haunting keyboards and Christian Pinchbeck’s gentle guitar line. Producing a relaxing, practically new-age, tone and atmosphere. Yet “Allured” is categorically vocal dominated with a strong light upon Rival’s swooning, almost angelic voice, nearly hypnotic trance enveloping.

Another great single from musical newcomers; Elephant, demonstrating modern tranquil synth-pop at it’s finest.

Jonathan Hatchman.

Album// Brilliant Colors, Again And Again, 19,7,11.

Imagine taking the finished master tapes of say; Blondie’s masterpiece
“Parallel Lines” or even The Primitives’ debut “Lovely” into a
studio. Then drenching them in fuzz and reverb and upping the tempo until
the originals are barely recognizable, the final product would be
something similar to San Francisco’s all girl group; Brilliant Colors’
new album.
Teaming with Alex Yusimov to produce “Again And Again” and thrashing
their way through ten tracks in under half an hour, similar to their 2009
debut but with much more pop twee. Yet retaining gritty, suppressed vocals
under soaring guitars with jangly fills, building a distinctive shoe-gaze
style. With the shockingly infectious opener “Hey Dan,” “How Much
Younger” and “Painting Truths” to the plodding bass-line of
“Telephone Stories” accompanied by lead singer Jess Scott’s dreamy
vocals.
Although all of the songs share an evident similarity and demonstrate a
layered simplicity, their macho punk power entwined with a 1960’s girl
group catchiness defining their vintage sound provides an impressive gasp
of fresh air. Proving that Brilliant Colors have produced another
fantastic album, perhaps even better to their debut; “Introducing” and
are a band that even Germaine Greer would approve of.

Jonathan Hatchman.

Single// Bombay Bicycle Club, Shuffle.

“Shuffle” is the new single from London based  Bombay Bicycle Club, taken from their forthcoming third album; “A Different Kind Of Fix,” set for UK release on August 29th.
A return to electric guitars  from the acoustic stylings of latest album “Flaws” was promised in the build up and recording of “A Different Kind Of Fix,” however the most prominent instrument conveyed on “Shuffle” is the opening, jaunty piano sample. Sounding as though stripped from a 1930’s motion picture, recurring throughout the whole song, with varied tempo’s, over Saram’s back-beat, so typical of the band’s earlier classics. As well as Steadman’s dominating, unique vocals.
Thus, “Shuffle” marks a completely new move for the band, but is nevertheless bound to be a feel-good hit of the summer and their new album will surely be worth acquiring, even just to see what’s next from Bombay Bicycle Club.
Jonathan Hatchman.

Single// Ben Howard, The Wolves.

Over the past year there was been a vast increase in the popularity and success of folk music. Taking for instance; Mumford and Sons, Bombay Bicycle Club and, to an extent, Ed Sheeran. Devon based newcomer Ben Howard, however, is absolutely no exception.
With new single “The Wolves,” from it’s opening “ooh’s” mimicking a harmonious howl, inciting an almost new-age sound, to Howard’s powerful vocal tremor and through to his acoustic guitar style. Not just a generic tri-chord prehistoric strumming pattern, that’s apparent within so much of today’s folk music, but with provocative, melodic intricacies similar to those of John Martyn.
Proving that Ben Howard is a vital addition to the growing modern folk scene and “The Wolves” leaves an anticipation for his debut album to be released and to be commercially available.
Jonathan Hatchman.

Single// Avi Buffalo, How Come!

Through shuffling between school life and band life, as well as a dramatic line-up shift, California based Avidger Zahner-Isenberg (AKA. Avi Buffalo) and co. have managed to spend sometime in the studio to write and produce a new single.

Fusing an enigmatic, jazzy guitar and keyboard line with Isenberg’s wispy, soprano voice, conveying an insouciant enthusiasm, somewhat similar to that of a children’s television protagonist.

“How Come!” has a mellow feeling of tranquillity, a nice treat for previous fans awaiting new tracks that aren’t drastically differing in style in the follow up to their self titled, well received debut album released early last year.

Jonathan Hatchman

Live// The Horrors, York Hall, London, 17.6.11.

Tonight marks the final show of The Horrors’ UK mini-tour, promoting the upcoming new album; Skying, on their first London headline show in over a year. As front man Faris Badwan states: “It’s good to be back,” midway through tonight’s short set.
Iconically slinking onto the stage at 9:15 PM the band used tonight’s gig primarily to showcase new material such as new single ‘Still Life’ boasting an orchestraic melancholia, yet still leaving room to incorporate noir neo-classics such as the devastatingly post-romantic ‘Who Can Say?’ and the epic "Sea Within A Sea’ with it’s monstrous bass driven breakdown.
If tonight’s performance is anything to go by, their debut album set for release on July 11th is well worth a listen to and The Horrors should definitely be caught live as the embark on their full scale, October, UK tour.

Jonathan Hatchman.

http://counteract-magazine.com/the-horrors-york-hall-london

Up-&-Coming//Sulk.

Formed by lead guitarist Tomas Kubowicz in Sweden, before moving to London in search of like minded band mates, Sulk are Baggy revivalists with an element of shoegazey, acid house insouciance. Sounding as though formed in Manchester in the late 80’s/early 90’s.

Evidently heavily influenced by The Stone Roses, as conveyed through tracks such as “Sleeping Beauty” with it’s shimmering guitars accompanied by Jonathan Sutcliffe’s euphoric, wispy vocals, building a mellow atmosphere in a style similar to that of The Stone Roses, The Charlatans, early Blur and Suede. As does debut single “Flowers” with its infectious, whirring guitar riffs. Leading to them getting noticed by producer Mark Wallis (The Smiths, The La’s, Etc).

Although they have received a lack of mainstream success, they already have a strong celebrity fan base including; The Horrors, The Courteeners, S.C.U.M and dissimilarly Peaches Geldof. Also having supported The Twang, The Charlatans and recently The Drums. Yet, with the release of their awaited debut album and the recent Britpop revival, what which emerging new bands such as; Brother and to an extent Beady Eye, alongside reunions from Suede and Pulp. The future looks luminous for Sulk and their acid house resurrection.

Listen To: “Flowers,” “Sleeping Beauty.”

For Fans Of: The Stone Roses, The Charlatans, Suede, S.C.U.M.

http://www.sulktheband.com/

Jonathan Hatchman.

Up-&-Coming// Electricity In Our Homes.

Formed and based in London, Electricity In Our Homes’ shocking brand of edgy art-rock with noise-pop undertones, teamed up with a minimal 50’s and 60’s Rock ’n’ Roll element, is a breath of fresh air upon the East London Indie scene. Summing up their own sound as an inharmonious clash of simultaneously sounded tones. Taking a variety of influences such as Talking Heads, Sonic Youth and Prince.

Becoming renowned on the DIY underground scene for their short, chaotic live performances and astonishingly fast selling singles. With fantastic songs to their name such as the electrifying “Don’t You Want To?” with its ballsy, lumbering bass-line, shuddering guitar and vocal instrumentation. Also next single “Oranges,” taken from their upcoming debut album, sounding like a Buddy Holly LP sped up to 45 RPM underneath a morose vocal style. As well as the epic “Apple Tree,” with bassist Bonnie Carr taking lead vocals, tinged with melancholia backed up by a plodding, recurring chord pattern throughout and Paul Linger’s minimal drum beat.

Electricity In Our Homes are the sort of band that aren’t necessarily going to achieve huge commercial success, but if they carry on selling singles so fast, and with the release of their debut album drawing near, who knows to what extent they will excel, but are sure to become a huge influence to other bands in the art-funk scene in the very near future if they keep writing such exhilarating songs.

Listen to: “Don’t You Want To?” “Oranges.”

For Fans Of: Talking Heads, The Horrors, S.C.U.M, Franz Ferdinand.

Jonathan Hatchman.