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Carousels and Limousines

12 Jul

One of the big curses of British music is that home-grown bands too often ignore British [influences] and became infatuated by American sounds. It makes commercial sense in an entertainment world dominated by America, but the hybrid sound too often forgets what makes bands both sides of the Atlantic great, and ends up impressing no one. However, every so often a band comes along that embodies both the American influences and the British spirit. Carousels and Limousines are one of these bands.

Carousels and Limousines

Despite coming from Bath, they sound uncannily like classic New Jersey blue collar artists such as Bruce Springsteen and Gaslight Anthem. It’s in everything from the singer’s rough, world-weary voice to their weary optimism and gritty urban rock. They have the same talent for conjuring up a place, and every song feels like the story of a night on the town or a lost love.

‘One and Only’ displays the band’s hopeless romantic side, as the singer asks for a kiss from his true love. The band have described their transatlantic musical lovechild as garage pop, but when it’s this fun a label hardly matters. “How about a kiss for your one and only?” the infectious chorus goes, with more than a hint of Bruce Springsteen’s ‘Born to Run’. Some of the lyrics are a bit corny perhaps, but it’s so upbeat you won’t be able to resist the urge to dance with it. The sense of euphoria ties in perfectly with the cover artwork of a neon tornado tearing through a black and white carnival, suggesting there’s fun in this bleak world we live in if you only go and look for it.

‘17’s’ slows things a bit as the singer lusts after an unavailable girl, musing “Your hips that sway and your eyes that say things good girls never should.” It is classic 70’s rock and will struggle to believe it was recorded outside of the States. The band’s transformation since they performed as Grace has seen them create a much rougher, less polished sound, which makes this lovelorn anthem sound more believable.

There are no two songs that sound the same, as though the band is urgently trying their hand at every possible style in case they don’t get another chance; ballads, acoustic guitars and harmonicas are all utilised. However if this record is anything to go by, we will be hearing a lot more from them.

Read next week for an interview with the band.

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Paul Diello Doesn’t Lose

16 May

Paul Diello

We are traveling across the pond for today’s artist, Paul Diello. Diello was awarded the Best Solo Artist distinction at the Brighton Music Awards in 2010, and has since released his debut album The Last Green Bottle in October 2011 to positive reviews. He has toured the album extensively, playing across the UK, Ireland, Germany, France, Holland, and America, where he is currently. His burgeoning popularity is for good reason; Diello possesses a masterful, genre-bending voice.

That is, of course, one of the most important prerequisites of any solo artist. Stripped down to the purity of artist and song, Diello is able to take listeners on an emotional odyssey that turns on every nook of his vocal. By far, this is Diello’s most endearing quality. His vocal is one part Tim Rice-Oxley, one part Adam Lambert – a mixture of subtle, timorous falsetto and flamboyant, impassioned chops. To express Diello’s voice I am choosing to share a song without any window dressings. This is the piano (radio edit) of his song “You Lose.”

Notice the fluffy airiness that is masterfully mixed with his ardent timbre. Diello’s controlled vibrato echoes over the keys with clean efficiency. It is simply a joy to listen to him sing. Then as the song reaches its climactic end, Diello pours emotion into the remaining notes but never loses his vocal discipline. It’s a wonderful example of firm flexibility. Great piece by an up-and-coming artist!

Keep track of Diello on his Website, Facebook, and Twitter

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Musical Autonomy – Atom Orr

18 Feb

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Christopher Hoffee’s journey in the enigmatic realm of music has eclipsed 20 years and shows no sign of slowing. Hoffee has played in three bands since 1990, but has achieved a level of comfort as a solo artist, Atom Orr. His most recent release, Galaxies With Long Yellow Curtains, came out last summer and features an intriguing collection of alt/rock pieces.

Atom Orr demonstrates an engaging pre-Indie style that focuses on captivating melodies and creative lyric. His maturity shines through the pieces, and the diversity of his music is refreshing; he strikes a pleasant combination between the Josh Joplin Group and REM. The music though remains fresh, a testament to Hoffee’s ability to take elements from the current musical climate and meld them into his own music; a collective autonomy – one born from perspicacious musicality and capability.

“Dive” is my favorite track from the album. It begins with subdued keys and percussion behind Hoffee’s gritty but dulcet voice. The space-like synth in the chorus helps the piece swoon well, and the strings create an ethereal aura that plays to the songs melodic efficacy. Simply, it is one damn enjoyable song, and you should check it, and Atom Orr, out!

Learn more about Atom Orr at the website.

The Rise of Jamie Lidell

9 Feb

You never know what you’re going to get when you find an artist that doesn’t fall in the bounds of a specific genre. Sometimes it is just too erratic and “art for art’s sake.” I know there is merit in pushing boundaries, and it’s great to challenge the status quo of music, but I still need melody, and I still want to enjoy what I’m listening to. I don’t care how avant-garde you are. If I don’t like your music, my opinion isn’t going to change just because you think you’re original. You can write new stuff all day that no one has ever composed or dreamed of, but if it’s garbage then I don’t know what all the fuss is about. There is another case though.

Some artists can’t be placed into a solid genre for a better reason. Sometimes artists are just putting together albums that reach far boundaries that become a sublime blend of music that keeps you guessing the entire record. Sure, I love it when bands like AC/DC put out albums because you know exactly what you’re going to get, but I also love being surprised and finding something fresh in a new album.

I recently stumbled upon the music of Jamie Lidell. He is a solo artist from England. He currently lives in Nashville and puts on one hell of a show. He achieved his fame looping rhythm tracks with his vocals and performing as a one man show. I caught wind of this because he is featured on a Simian Mobile Disco track that I love (Off the Map). His music is incredibly soulful, super rhythmic and a complete dance marathon of melody laden music. I can’t imagine this guy being a secret in the music industry much longer.

Both of these songs are the night and day of his music so just in and check out the range of this up and coming artist.

Check out his website for more.

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Gaining Transmission – The Creative Pop of Jon Samuel

3 Jan
Jon Samuel

Jon Samuel

Jon Samuel understands the key to creating mellifluous pop music. It doesn’t involve overused synthesizers, vocal effects, or complex sound. That would be too easy. Da Vinci wrote, “Simplicity is the ultimate sophistication,” and this quotation accurately describes Samuel’s ability as a singer/songwriter. Don’t get me wrong, some bands are able to find an electronic balance and create elegant music, but stripped-down pop music requires a certain level of simplicity that is, well, sophisticated. Such artists are handed the arduous task of creating easy, inventive pop that is not pablum. Artists must be subtle in a completely unsubtle way. The greatest artists/writers (like Da Vinci and Shakespeare – who wrote “Brevity is the soul of wit”) will stand by the belief that conciseness and guilelessness is difficult to achieve but ultimately effective. Clearly, Samuel agrees, and his debut solo release First Transmission plays to that sentiment.

Some may know Samuel as one of the musicians in the 2008 Juno Award-winning band Wintersleep. Samuel acted as a composer for Wintersleep’s new album Hello Hum, which was released in June of 2012. Samuel’s solo album followed two months later. The album was recorded in the Spring/Summer of 2011 with Wintersleep bandmates Tim D’Eon and Loel Campbell. Rah Rah’s Erin Passmore provides vocals to two tracks.

“First Transmission,” the album’s title track, is an effervescent ode to SETI scientists who search for signs of intelligent life in space. First off, awesome concept for a song. I just want to get that important note out of the way before I discuss the music. Samuel’s clean and composed vocal is a delight. His voice is soothing, and, to stick with the space theme, is equatable to an astronaut experiencing a weak gravitational force; it floats, but with composure. Underneath Samuel’s airy vocal is an elementary drum beat and few chords. The song, though, does not come off as jejune despite its absence of complication. It is aided by its bubbly simplicity. Some well-placed harmony and call-and-response parts help carry the song even further.

“To Love” similarly starts with an easy riff. Samuel’s vocal follows the chords in rhythm. It’s a pleasure to listen to. Like in “First Transmission,” Samuel’s effortless vocal shines. The song also features atmospherical strings and creative harmonies that add to its cherubic effect.

The entire album is worth a listen, and I urge you to check it out.

You can learn more about Jon Samuel and buy his album at his website. Follow him on Facebook and Twitter

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