The Wirehead - Elevation

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Last one out of the bag this month is a new name to me, and a genre I have had difficulty with many, many times before. Electronica is the general doom I face, and trance being my own special cup of hemlock. Having said that, as many of you already know, I have been surprised before so best not prejudge eh? Thewirehead (to give his proper name) is 23 year old called Mark from the US and judging by the look of his website he hasn't been on Soundclick long, so a newbie all round. However, he says he has been making music for about seven years so that kinda scotches the whole idea of being kind to him.

Muuahahahaha. Who said reviewing couldn't be much fun?

Despite my dislike of the style, thewirehead didn't make it in any way difficult not to like what had been put before me. The first time around you will certainly be impressed with the dash of the track, and it's production and mix in particular. In fact, I guess if you were at a trance club this would go down well, and that's I guess where this musician is aiming for. In which case, he has succeeded well because Elevation is a meaty track full of chunky sounds and widescreen for ears to boot!

However, after continued listening confirms that not all is well, and I didn't start to notice it until I had been round the block with a track a few times. As good as the overall sound is (and it is) there's something amiss between the bottom end and some of the fiercest (in terms of EQ) hihats I have ever heard. This tends to blot out certain parts of the mix and leads to immense volume differences in the quieter parts of the track as shown clearly around 1:25 and again once the hihats kick in at the end of that section. It does mar what is otherwise a very decent trance track and one I didn't feel like ripping to shreds from the get go - but that mix does have to be fixed.

Gloria J - Edge Of Darkness

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Most probably the first thing that will strike you about this track is that Gloria has a distinctly un-Gloria like voice. Matter of fact, in tone and delivery she sounds remarkably like one of my favourite folk singers: Dave Swarbrick, a folk icon from the early 1970's culminating in his involvement with the legendary Fairport Convention. So, judging by that, it is fair to say that Gloria J operates in the folk genre although there is a distinct tinge of 'old school' folk about as practiced by the Fairports, Stealers Wheel, The Strawbs and other luminaries of the Golden Age of folk rock.

Gloria J is, in fact, a cross gender artist who I first came across when I reviewed Wheels Within Wheels (March 2006). Very nice track as it happens, of course it would help if you actually liked folk, especially the earlier sounds associated with the genre. As I commented about that earlier track, one voice one guitar is NOT the folk I am referring to; this is a much subtler, expansive style more commonly known as English Traditional music as opposed to the folk espoused by - say - Woody Guthrie. As such, again, Gloria pins the format to a T, authentic and proud of it.

Oh we are not perfect, she wails, but on my books this is as close as it gets...

One of the highlights of Wheels Within Wheels was the crystal clear production; the bouncy bass and the layering of guitars that gives these tracks their lightness of being. Over the space of two tracks Gloria J has shown me two things about her music: 1) a thoroughoing professionalism that infuses her work and 2) her ability to crank out some absolutely wonderful songs. Wheels Within Wheels already sits on my hard drive since the review and this one is sure to join it. Class English tradecraft encased in a mix that is just so light you could eat it between meals. So, Gloria, what are the chances of seeing some lyrics to this? It's obviously a very personal song, and it might be more understandable if the 'incident' were a little more obvious (although I can take a few educated guesses). Still, it's your song and your story, say it how you will, so long as you keep pumping out beauties like this.

Highly Recommended

Mule - The Reliable Man

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I have a pretty good memory as far as bands and band names go, so when I saw Mule in this months review list, I knew that I had reviewed them before. However, when I looked at the review for A Simple Life (December 2005) I was gobsmacked to see that I had given it a Must Have rating. What? For a new band (to me) and a new track? Almost unheard of, guv. In common with all my Must Have tracks, it's something I'd want to keep so I went back and listened to the file that has sat on my hard disk since that review. Just to check that my ears are working properly and I can't say honestly I have heard it overly much since that review. Too much else going on, but I did put it in my 2006 folder so it is up for contention in this years Stevies - as indeed are Mule themselves, and that's on the strength of one track. Now having heard A Simple Life once or twice around this new track I would STILL give it a must have, a killer track and no mistake.

I was never much into Britpop when it was around and even then Blur kinda did the trick for me because - for me anyway - Oasis was merely a rock throwback and have proved to be consistent in that approach. Blur, however, were always into different musical forms and that appealed to me more. Which is why tracks like A Simple Life and now The Reliable Man also appealed to me. Both these tracks rely on a lyrical subtlety allied with a fine pop sensibilty that was first pioneered by band such as original Britpoppers The Beatles. Speaking of which, in terms of arrangement and style, The Reliable Man owes much to their legacy because they specialise in that mid-success sound the Fab Four come up with on Rubber Soul and Revolver.

It's that relaxed, yet very complex approach that Mule take that I find most satisfying as a listener. In common with A Simple Life, this track abounds in clever arrangement twists, some lovely chord progessions and a fine performance all round. I personally would have liked the backing vocals slightly higher in the mix and a bit less of the cymbal crashes in the outro, but that's nothing, merely a preference. The track works perfectly - on all levels. Your obvious starting point would be Blur (because of the vocals) but anyone who likes REAL english guitar pop will just love this bad boy to death. With two Mule tracks now under my belt it is obvious that they know exactly what they are about, technically and professionally, and I would have no hesitation whatsoever in recommending either one. One small quibble though; lyrics? Where they is, maaaannn??? Want the words, want the words...

MUST HAVE Classic English rock, be it the first verson OR the Britpop one.

Rolland Harrison - Dogtown Blues

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A brand new Soundclick name for me but hey, anyone who has a picture of Uncle Frank (Zappa) sitting on the crapper on his front page is OK by me. Rolland is, by his own admission, a jazz playin' guitar slinger which again is not something likely to put me off my dinner because I do like jazz (in some ways) and I do like to hear a nice gee-tar a-wailing on my stereo. By way of reference, Rolland obviously loves anything and everything from jazz guitarist wizard Talmage Hot Farlow (1921-1998) and cites him numerous times as a main influence. More popularly known as Tal Farlow, this man played with the greats of the jazz scene including Charlie Mingus in the Red Norvo group, a stint with Artie Shaw and of course his own Gibson branded guitars and his superlative Blue Note and Verve recordings from the mid 1950's to the late 1960's.

Swing and Bebop were the areas Tal specialised in, and although Rolland does have an enviable jazz tone going down here, there is an electric-ness (Ed: is that even a word?) about the playing that - for me anyway - kinda ruins the feel and, therefore, its authenticity. As far as playing goes, I have no concerns whatsoever, this is a man with more fingers than any human has a right to, and in some ways his playing reminded me of another great jazz guitarist Alvin Lee. Although he his more well known for his rock work with Ten Years After, I have seen Alvin playing in small jazz groups and know that he much prefers this style.

So even after the glorious wallowing I've had in a genre I don't spend anything like as much time in as I need, I still came away from Dog Town Blues abuzz with fresh longings for some more and even hauled out a couple of older Mingus track I had to keep the jaaz buzz flowing. I can't think of anyone else on Soundclick who is playing music like this, and definitely nobody who does it this well, so if you do like a bit of jazz guitar playing par excellence, Rolland Harrison would by the name to check out. While it's true that jazz has always had its small band of afficenados, and therefore this track won't be to everyone's taste, if you would like a dip in the very roots of jazz (and by definition rock too), Rolland again will get you started, he's a slick, fluid guitarist who has mastered his instrument and style with fine detail.

Well worth a listen for it's style and splendid performance.

Cam's Even Song - Face the Music (The Ballad of 4 Lepers)

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Cameron Bastedo (AKA Cam/Cams Even Song/and even Captain for reviews) has long been a pillar of the soundclick community - well what community there is anyway. Ooops, sorry, note of bitterness crept in there. Seriously, to my mind, Cam (in whatever guise) is an artist who deserves to be noted on a much wider level than at present. First of all he has spent years perfecting what he does and when you hear a track of his, it's instantly recognisable - couldn't be anyone else. As well as being an adept musician/producer, he is also unafraid to tackle subjects in his lyrics that other people would run a mile from. A song with a message, they would shudder, what would we do with such a thing?

Face The Music is a song based on a Biblical story, hence the Four lepers and the track finds Cam in his best Bob Dylan circa Blood On The Tracks mode, an area I like very much when Cam stands up to it. I first caught an inkling of this side to Cam's work when I heard his Dylan flavoured Just The Truth On Christmas at the end of last year. He's always been - in my eyes - a talented and prolific songwriter but when he marries a style like this with a truly great lyric, it's nothing short of breathtaking. I make a lot of noise about the Dylan influence because I just bet that it'll be the first thing that will pop into your mind first. I don't, for one second, think that Cam is conciously trying for the resemblence, it's just the way his own style has developed.

Speaking of development, Face The Music, is a masterclass in how to construct a meaningful, pointed peice of music that speaks to head and heart in equal manner. While it is true to say that I have become a big Cam fan over the last couple of years, I'm still realistic enough to know whether my friendship is colouring my thoughts about what he's doing right, or wrong. Fact of the matter is, I couldn't find anything whatsoever in this track that I would want to change or have done in any other way. This is a pleasure, in every way, to hear and savour and shows that Cam continues to make huge strides in his production methods because there is nothing of the home recorded syndrome about this highly polished, extremely professional track. Now, if YOU think my friendship with Cam is colouring my judgement, I'd ask that you give this track a listen and then come and argue the point with me, I'd be glad to number the ways...

MUST HAVE (song, content, performance, all outstanding)

Mosquito Death Squadron - Knock On Wood

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Slap me in a dress and call me Sally but I do like Mosquito Death Squadron. Even after I have murdered thousands upon thousands (Ah hates mozzies!) of their compatriots, I still find the music they make quite remarkable to hear. Must be something to do with having endless pairs of legs I suppose. The band describe themselves as 'a runaway train of genre-bending mayhem' and I think I would be inclined to agree with them. Not something you would want to be putting yourself in front of if you have a mild disposition, or are a little nervous about loud noises - or even if you like music to be straightforward. The one thing I have never been able to say about MSD is that they are in any shape or form straightforward.

Bent as a 10 cent watch is the straight truth.

That has a lot to do with the members of the band, who also double as freak shows in their own right. I speak of course of Mandible and Pilesar (reviewer shudders). I really liked Baby Teeth Live (March 2006) moreso because it showed live musicians thrashing the crap out of their instruments, all caught in a nice live environment. It was that treatment that made it work for me, because it showed the musicians in the best possible light - making the performance work the trick. Knock On Wood sounds as if it were done the same way, and again it shows a great of tight musicians just blowing away without much of a thought about what others may think. For me, it is also the thing that makes this track work for me.

There's no doubt in my mind that over the last couple of tracks Mosquito Death Squadron have shown that they are a group of exceedingly competent and adventurous musicians. Although they have Knock On Wood down as Jazz fusion, and it does have a nice jazz slant in arrangement, the main feeling I got from the track was rock. That may have to do with the lineup (bass, drums, guitars) and the intricate, tight-as-a-ducks-ass licks the band spill out in all directions. To see this live must be awesome, because to hear it on MP3 is exciting enough to make me poop me pants. Despite it being a demo, this track is virtuso stuff and because of that it gets one of my highest ratings, although I will stress that not everyone will 'get' this but I do. Here is a track where the most potent element is the obvious fun the musicians are having playing this intricate, finely detailed music. Excellent track, troops.

Highly Recommended (or a must listen anyway, especially if you like class playing)

The Antennaheadz - Genii

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Best not to go looking for this track on Soundclick because - for some reason - it's not available on here. You can, however, grab yourself a copy by clicking on the download link here, the main link above just leads to the bands Soundclick page. No doubt Thomas J (he of millions of bands) will shed some light on this matter in due course. As I can tell by the knowing glances, you know what's coming from me about what Thomas and his assorted collaborators come up with. Sometimes it's highly palatable and sometimes it makes me heave.

Joking, but only slightly so...

The first thing that struck me about Genii was the drum pattern. Now correct me if I'm wrong but it sounds to me like one of those Godawful keyboard presets guys in keyboard showrooms use to show people what great musicians. You know the kind, the beats keeps going no matter what tempo the top are being played at. Even worse, I have a suspicion that The Antennaheadz actually WORKED to get this sound, how sick is that? Either that or they are right lazy gits and this is really one of those patterns with some keyboard type wizardry superimposed on top of it. So, it's a choice here; Lazy?, crazy? or just plain mad keen to put out e-v-e-r-y-t-h-i-n-g they have ever done.

Seriously, I do question exactly why this track is here in front of my ears. Anyone with a keyboard and the smallest knowledge of chord structure would put something similar together and - as I say - if TZ worked at getting this particular sound then I have to ask why. As a technical (nerdy even) thing to do, it works because the cheesiness of the whole thing stinks up the room every time I play it. I know that Thomas as a liking for the ol' musical gorganzola, and a distinct love of bleepy analog (read retro) sounds and that's no bad thing in the right context. This though, as much as I might admire the skill (?) and dedication (?) of putting it together didn't touch me at all, except to shout 'turn it off' at regular intervals.

Oh well, on to the next.

Prash - What Has Happened To Peace On Earth

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Prashant Vadhyar, more commonly known to us Soundclickers as Prash, has long been a favourite flavour in the Gilmore household. His mix of western and eastern musical tradition is very special although it has to be said that I am a fellow traveller in this genre (world) - therefore biased as hell. I'm not alone either because in the couple of years he's been hanging around on Soundclick he's made some very influential friends. Mumbai, India, where Prash comes from, has always been a fairly musical city - it being home also to Bollywood. Arguably the largest and most productive movie centre Bollywood is also mainly responsible for the upsurge in Indian musical talent with the endless movie soundtracks the studios pump out. Remember that Bollywood films are noted for their song and dance routines and at three hours a strech, you can fit a lot of musical action in there AND leave enough room for a completely unreal plotline.

Aaaah, such is the stuff of life...

As you can tell, I am also a big fan of Bollywood musicals, so it was a bit surprising to me when first encountering Prash that his music was western with an eastern undertone. Whereas my music is exactly reversed - eastern with a western undertone. Rock does seem to be Prash's favourite playground and if you think I'm joking grab a slice of My Baby Is A Fine Wine, Weep Over the Demise of Rock and other such Prash classics. What Has Happened To Peace On Earth is another collaborative effort with Chris Bishop (AKA Project Overseer another one of my favourite artists. Reading between the lines, this is meant as a pretty serious track so do get a squint at the lyrics while listening, and you'll see what I mean. Nice to see that Chris's original gathering idea paying such dividends. Just goes to show what you can have if you put your mind to it and - as Chris knows full well - have to some pretty deep pockets to fund a fast growing website.

In the hands of such accomplished and seasoned musicians, there isn't really a lot that could go wrong. It's going to be an even bet that you will hear a crisp, sharp, clear much with punch and drive where needed, in other words a fully professional job with the knob fiddling. As always though, it's the class songwriting and musical skills that make this track the beauty it is. Not sure who is doing the vocal honours here but it is well tasty and really kicks the song into overdrive. I'm not much struck by the moral tone of the track, all a bit too hippie-ish for this crusty old cynic, but that is just me being bitter and twisted. Probably because underneath it all I just wish I could have written and performed this track and I'll never, ever get close. Those swine !! :D Seriously, Prash does it again in grand style, aided and abetted by the man himself. Excellent, no matter what genre it lives in.

MUST HAVE

Rude Corps - Cosmetics Part Two

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Anyone who states 'To hell with the music industry - those pigs are tomorrow's bacon...' and who once used the legendary OctaMED to make music is gonna be quids in with me without me hearing one note. Having said that I have in fact crossed path with Rude Corps a couple of times, and even with forum alter-ego dolly (of mixture fame). When asking for this review I was told 'this one is quite old now' so it's nice to know I've been relegated to reviewing someones old tat instead of the squeaky new stuff I am used to. Mind you, considering that there are 152 tracks on this artists page, some of those have to going back to the Stone Age...

Joking.....j-o-k-i-n-g

I'm not a big fame of the whole breakbeats thing, although there have been a few tracks from the genre that impressed me and that was usually because of production tricks rather than musical talent. I really liked Omnisine's (or CJ Freq X as he was then) remix of Lockdown (March 2006) and went and listened to the original and liked that too. That's the fekkin promlem with genres innit? The words say one thing but the music speaks a thousand different tongues, many of them forked. Call it breakbeats or call it pedigree chum, for my money there are shades of almost everything in this slick, slightly off centre track. The same is true of Cosmetics which brings me to the conclusion that a good few of that 152 tracks would be worth a listen.

OOoooh, get her :D

Seriously, Cosmetics is a prime slice of the dark underbelly of electronica and an opportunity not to be sneezed at. It's boasts a seriously funky backline (slammin' drums, bass goes walkies in sub space) that propels the track along so fast you will feel the breeze playing with your hair. The best part, for me anyway, is the low, semi-spoken vocal that gives the track its dry undertone. It is, apparently, a polemic about conditions in the artists native city of Sunderland; an area plagued by bad planning, economics of the madhouse and a political system being held to ransom. Hey wait a minute, I live in a place just like that... Hey, wait a minute, YOU live in a place like that!! Mmmmm. Cosmetics is a classy peice of electronica with a deft sense of rhythm that would look right good snuggled up on your player of choice. If I had a complaint (Ed: here he goes, right when I thought we'd get away with it this time), it would merely be to point out that the vocals could do with being clearer and more upfront in the mix.

(Ed sighs with relief)

Burp - Signia Iceglass (Burp Remix)

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Despite being the proud owner of one of the strangest bandnames on Soundclick, Burp has never had any trouble attracting fans and listeners. This is despite him being somewhat experimental (Ed: He means you should have a strong constitution and not liable to faint at sudden, strange noises) Burp's contributions to Soundclick have always been challenging, innovative, intensely rhythmic and as off-the-wall as you could wish for. As always, trying to describe exactly what it is that makes Burp special is impossible. If anybody could accurately describe what it is that Burp does but no-one else seems to come close to, it would be me because I've heard everything this artist has ever done. He's either mad or a genius and either way works for me.

As it would. ;)

Having given it the big build up, Signia whatsname is even an actual Burp tune, it's a remix which - given Burp's propensity to mate with the whole world and his brother - always bodes well. The original track is by an artist called PureH although its not much use clicking on that link because it just leads to a blank Soundclick page - more on that presently I guess. Subsequently, I have no fekkin idea what the original sounded like so a comparison to see what Burp bought to this particular party is not likely. However, I am pretty much steeped in old time Burpdom so I can certainly recognise his touch, and its on this track too but more in production/enhancement rather than as part of the musical structure.

Taking the basic tracks arrangement (a kind of illbient chillout) and tone as a reference I probably would have commented on some of the sounds used (nice stuff btw) and the way the vocal snippets are played/introduced. However, it was definitely not as wide open (stereo-wise) or as randomly chaotic as this remix turned out to be. Whatever else you say about Burp's work, the man is tireless; a true sonic assassin. Here he lurks in the shadows, firing rapid bursts of dissonance and other electronic fuckry into your skull with each successive wave of sound. Not having heard the original puts me at a tremendous disadvantage but that's just me wanting to know the ins and outs of a ducks ass. Normal, even.

This isn't. At all. Normal.

(It is really good though, and I do Recommend it)

JC's Revenge - Action

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So far I've liked both the JC's Revenge tracks I have heard and reviewed, more to do with my own personal preference for this kind of alternative rock. That's the American kind mind, not the whiny, 'oooh look at me my life is soooo tragic' English strain. All of which is exceeding strange when you consider that this is a UK band. From Cheltenham, more to the point, noted more for its Girls School than anything that lads may be up to. There again, it may just be the term 'schoolgirl' playing havoc with me thinking bits. Best get back to the music before this starts getting all messy. It's been almost a year since I last heard from them so either they have been avoiding me (not unknown, I might add) or they have been busy on the live circuit.

Mike Green, Sam Christie, Richard Morgan and Tim Dutton are wot makes up this band, and I would imagine they are a pretty good live act. Certainly as far as the music I have heard from them so far and Action backs up that promise admirably. Where I have been my usual caustic self concerning the work of these guys has been (as usual) the final sound that is presented to you and me - the listener. Now me, I've got tin ears from a lifetime of listening to music in all weathers and conditions, and I'm used to sifting out extraneous noise, but most people don't have that benefit. Consequently, the 'liveness', raw, edgy sound that Action comes packaged in is not much more than a live mix in sound and fury.

While that shows the band and the song in good stead (Action means action, ya'd better believe!), it doesn't convey the full power of this band's sound. That's obviously down to the way this gets recorded and put into binary form but nonetheless this is a very LOUD track and outside of the guitars there isn't a whole lot of meaningful instrument definition. Definitely a wooly kind of mix, and that is BEFORE the vocals kick in. Once the verbals start, you might as well stuff a couple of sheep in your ears because thats how wooly things really get. There is no doubt in my mind that here is a track in sore need of rescuing. See, the track buried underneath all this is a beaut. A rock classic that would blow your damn fool head off at a thousand yards - in a perfect world. P-U-H-leeze, sort this mix out and this - I absolutely guarantee - would be a red meat. fire breathing bad mofo.

Recommended Alternative Rock (provided you can get by a noisy, muffled mix)

melv - Black & White

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It's always nice to get a new melv track, even though sometimes its a bit of a struggle to get past sound problems. No matter though because - as melv has proved time and again - there's always a really intriguing song at the heart of it. Melv is, in fact, that rarest of artists; a songwriter who writes with his own voice - along the way paying some awesome respect to his musical predecessors and heroes. During the two years that I've known this artist he has delivered some absolute beauties, winning over a sizeable proportion of the people who took the time to listen to him. A songwriter in the old style; dramatic, complex music, exceptionally crafted vocals and a sound to fill any stadium worthy of the name.

Black & White is not so much a departure from what melv does best, but a reaffirmation of it. Black & White is, above everything, a superb song, the kind that melv delivers so well. Although it's billed as Electronica: Acid (?!?eh?!?) there's still enough of melv's style in this track to completely dispel any misgivings. Again though, I should caution you that is an extremely noisy track and very much in your face so watch your levels. Still, that's a pretty minor gripe compared to what you get for taking the trouble to get used to this track.

I've said it before and I'll say it again, why isn't this guy signed already?? For me, he's had a bit of a ho hum run of late, but Black & White is a welcome return to his usual class style and one I knew I was going to keep with a half a play. As noisy as the mix is, and the lack of definition on some instruments, what comes across still is the power and confidence of melvs performance and songwriting ability. Think of all your favourite artists stretching back over - say - thirty years: Bowie, Queen, Clash, U2, Radiohead and ALL of them resonate in the work of this very unique talent.

MUST HAVE (I am a melv fan!)

Bigwheel - Little Son

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The track I have has an artist by the name of Davos in the ID tag, and although I know of a place in Switzerland by that name that's about it. Confused? Mmmmm. So, anyway, I reviewed Far Away (July 2006) from this Preston, UK based electronica artist and quite liked its chilled atmosphere and clever arrangement. It also helped that the technical side of it was up to scratch to, and some of the sounds employed were just spot on. So, looking forward was I, to a bit more of that big-wheelie stuff and Little Son didn't disappoint.

It features a fragment of a vocal snippet I know and it's driving me crazy trying to remember where it came from. I've used the damn thing myself (along with a couple of its breddren) so I was bound to be attracted to a tune that used it as a main motif. Mind you, there's lots more things to gawp and goggle out so lets be about it. As the track starts I am reminded of early '80's synth music but that crashes out of the picture once the main instrumental section kicks in. While it's true that the tune retains more than a touch of OMD about it, it's still amazing efficent at reaching your pleasure centres.

While I'm not normally drawn to music to navel gaze by, Little Son, is exactly the kind of track I would put on as I am winding down at the end of the day. Or even a lazy Sunday afternoon providing the *trouble kept the dustbins out of me way for a change. Fact is, this is a wonderfully poignant little track that reeks of hard work both technically and musically, and cooked just enough to permeate the whole sound picture. The kind of track I very much am glad electronica was invented for. You can keep all your four-to-the-floor, bleep, buzz, chink, whirr matey, hive me intelligent, compelling electronica any day.

Highly Recommended electronica.

One Kids Lunch - Self-Esteem Song (If Not In You)

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There's a couple of guys in Texas who obviously know how to keep this reviewer bright eyed and bushy tailed. Known collectively as One Kids Lunch, they burst onto me radar with the delightfully off the wall There's More (May 2006). There definitely was more too because Fly Me (June 2006) and the must have track so far Prayer For The Clueless (July 2006) showed that there is more to this than a bunch of loaves and fishes. Prayer is one of those tracks I can garantee you will never get tired of hearing. With it's very strong Beatle influence and caustic lyrical wit, it was always a shoo in for a Must Have rating and time has only made it more so.

But you are only as good as your last trick right? ;)

The reason these three tracks attracted my attention beyond the music and the musical references was the bright, clean production and mix that imbued each of them. The reason I am bringing this up is because Self Esteem Song is - to my ears - somewhat duller than the three I have already reviewed. You will this track further down the band's page too. All of which would suggest that this is an older track, and if that is the case seems kinda pointless to witter on about technical bollock-malarky. After all, can't be doing with that kind of thing, can we?

Musically, SE Song is slightly less powerful in both tone and character than any of the tracks I have reviewed. Maybe it would benefit from a re-working but I doubt it, it does sound like a peice that was very much of the moment. Nonetheless, that fine pop sensibility that is this bands prime asset informs all of it's three minutes plus ça change. I admit that at this stage I am a confirmed One Kids Lunch fan (that's f-a-n btw, not van as in lunchvan) and I dare say quite a few of you are too. In which case, this is like looking back at what they did before except less sharp, less knowing and - yes - less effective. No matter, it won't stop me recommending it because when OKL rock out, they do it so, so well.

Recommended Pop from a pop machine...

Black Circles - Afterchain

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Sean Boyle (aka Black Circles) has spent years and years pursuing me down dark alleys and frightening me to death with the work of his band, the illustrious and justly famed Dead Company. However, if I were being totally honest, I have to say I have a soft spot for the old geezer. As crazy and bizarre as his work with the Dead Company is, his solo work as Black Circles is the template for a lot of what he does with the band. I first met Sean about three or four years ago and he surprised the bejeebers out of my with his unusual vocal style.

Not a crooner, more a drawler...

He isn't, as he would rightly admit, the most accessible artist in the world, in fact he specialises in musical obtusity, in addition to a lyrical profundity that is astounding. It's that combination of lyrics and a freewheeling experimental style that has always been the hallmark of this musicians work. Which generally means you are either going to like his music or definitely, categorically not. Having said that, even I haven't liked everything he's put out but he's hit more often than he's missed. Afterchain, if this is a new name to you, is absolutely typical of the man. Music to grind your teeth to, and may well induce you to commit hari-kiri in front of your startled neighbours and loved ones.

The urge to self-destruct is again a hallmark of this artists very dark, sepulchural vison of the world, the usual doom and gloom pretty boys have nothing on this guy. The words came out with the sibilance of snakes, complete with beady little black eyes that heighten an already absurd sense of danger. If you are getting the impression that I don't like this track, you'd be wrong. As I've stated a million times, I personally think Black Circles is one of the most innovative and unique musicians around. Like him or loathe him, you can't deny that you haven't heard anything like this before: it's not everyone can manage the Voice From The Grave, let me tell ya. Black Circles is not always an easy listen (in fact never) but often and interesting and rewarding one - if you can stand the adrenaline rush that is...

Not for the meek and mild.

DCiP - There (First verse and chorus)

Hear The Track Here

Hang around on here and the whole world will pass you by, sometimes more than once. Take DCiP for example. I first met this Malaysian singer/musician when I reviewed Delusional World way back in November 2003. Since then she has popped up every now and again through the next couple of years and not always with things I have been kind about. Problem is that Sharmin is dogged by lack of production materials and although she can write and sing (a lovely voice), the overall sound quality has always let her work down.

It's been almost two years since I last heard from her, so maybe things have taken a turn for the better. As you can tell by this tracks subtitle, it's gonna be a bit on the short side; about one minute and forty seven seconds to be exact. That's probably all to the good really because - I kid you not - the sound is truly, truly awful on this track and it will take a hardy listener indeed to want to plow through it, despite it's shortness. All a great shame though because - again - it shows that Sharmin retains the quality in her voice and songwriting that I first liked. However, do be prepared to work for it.

There is an incredible hum on the track as well as some extremely highend squeals, and it ends right after the chorus (as promised, even) so it leaves the listener with only the merest glimpse of something that may - or may not - be worthwhile. Believe me, trying to spot the track in amongst all this aural clutter is akin to trying to see through fog. Nonetheless, I hear some decent background vocals on here and that's something Sharmin is doing that is new. Oh but oh how I wish that someone would pick up on this girl and help her to sound as good as she should because she certainly has potential.

I sigh dispiritedly and move on...

Policy Overkill - Wonder

Hear The Track Here

I know I am going to be damned forever for saying this, but every time I come to write this artists name, I keep writing it as Project Overkill. I have heard about people having (makes quote sign) 'projects' but I didn't think it was catching. However, I'll try and restrain that urge, keep my sanity and soldier on. Electronica has a hard time from me, and nowhere more so than in it's Ambient subgenre stylee which has been known to infuriate me. Usually because people assume that a bunch of foot long spheres all strung together for Gawd knows how many minutes constitutes good music.

Bah fekkin' humbug, I snarl.

There is a lot of the experimental in the two tracks I have heard from this artist and it's that - I think - that keeps his butt out of the Gilmore Grinder. I found The Stomp Dance (June 2006) very listenable - for the genre. There was a skating on the edge of chaos feel to it that really appealed to the brute in me and all in all, it was an interesting slant on this much abused genre. Wonder adds more to that particular story and is - if anything - much stronger meat than Stomp Dance and will therefore take a bit of assimilation and work on the listeners part. I had to listen to it a good few times before I felt I had a good enough grip of the slippery little bast... thing...

'Weird ambient stuff heavily reliant on chorus effects' the artist chortles in the song comments and adds 'and weird buzzing in the background' all of which perfectly sums up this track. It also misses out in describing some of the neat sounds Policy Overkill has gathered together to make a wonder out of Wonder. To be sure the base of this track relies on ambient standards: loads of spheres, long sweeps and buzzes and general noise. Above it though hangs some very, very effective sounds, a recognisable piano track that drifts in an out of your ears like a summer breeze and - to top it all - it only runs to a grand total of almost four minutes. Wonder is an excellent track, especially for the genre it lives in and one I am going to be tempted to keep.

Recommended Electronic Ambient (and I don't write THAT very often!)

Greenie - This Is My Thing

Hear The Track Here

I first met rapper Matthew Greenberg (AKA Greenie) when I reviewed Positive Influence (May 2006) and found it very...well...positive really. So much so that I gave that track a Highly Recommended tag and there aren't that many decent hiphop tracks I'd do that for. That's partly to do with the very professional sound that Greenie tends to lay down, partly to do with his vocal delivery and wholly to do with the kind of hip hop this MP3 Unsigned artist pumps out. Let's face it, there are wide swathes of the hiphop scene that I'd go blocks to avoid, but not Greenie's kind.

The first group that made me see that something other than rap was surfacing in the urban music scene of the late 1980's, early 1990's was the emergence of De La Soul. One of my all time favourite bands, the took the basic beats to new heights, mixing all kinds of sounds into their music. This is the same area of hip hop that Greenie goes for and why I rate him so highly. So, it's obvious I am going to be biased, but nonetheless I can spot something that doesn't work and I'm damned if I could find very much wrong with this track, technically or otherwise.

Hiphop, in my opinion, gets a lot of bad press mostly to do with the machismo associated with it (or dumbo thought depending on where you stand on the issue), but there are artists and music that make a substantial impact in - or out - of the genre. It has to be said that Greenie is fond of the fornicating word so rest assured that this track carries the usual Parental Advisory, but there again it IS an adult track made for adult listening. Greenie isn't one of the battlers, shuckers and jivers that normally inhabit the scene, he's a solid, thinking artist who writes what he sees and turns it into some damn fine hiphop and long may he do so. So, remembering my bias...

Highly Recommended Hiphop.

Parasol - Still A Bit of Everything Here

Hear The Track Here

Parasol is, in his own words, 'some kid strumming the guitar not really caring if anyone listens or not'. Probably the best attitude to adopt when faced with the online music scene. I think a great many of us musicians would put their hands up and say that we think the same. However. But. Late at night, in our private places, it IS wonderful to get a bit of recognition in the form of a play, a download, or in that rarest of payoffs: reviews and/or comments. I don't know about other musicians but to get a comment or email from someone who has heard and liked my music keeps me buzzing for days - and I think the same is true for most of us.

Parasol, being the kid in question is Canadian and that's yer lot for biographical information. He's also, I suspect, new to Soundclick and new to me so what does he bring to the table that would catch our vulture-like gaze? OK, let me 'fess up. I've heard this track innumerable times and I'm still trying to decide what I actually feel about it. The genre doesn't help any (acoustic folk) and it's not always a genre that finds favour with many people. There are a couple of things that are extremely enjoyable about this track - at least for me and that is what ultimately saves it.

Musically, it's very sparse, a mere strum every once in a while and thats pretty much it, so obviously it falls to the voice and/or lyric to fully support a track that last four minutes and change. Hyperventilating yet? You betcha. So what is it about this essentially one man, home recorded track sit so well with me? Well both the vocal style (a laconic, incredibly tired Bob Dylan) and the lyrical style suit this performance and although its definitely going to be an acquired taste, it is - suprise, surprise - a decent song worthy of a listen. One man, one guitar and voice.

Listen, or not, you decide.

Smalllife - Need To Buy A Woman

Hear The Track Here

Although I'd encountered Jaymz Lee Shaw before, the first time I came across his Smalllife band was with All The Things You Said (July 2006) and - being the rock animal I am - I lapped it up. In that review I likened them to an early Aerosmith, and that is a compliment indeed. Almost everything in that track screamed rock - if looked at another way - mosh pit mayhem!!. The same is true of Need To Buy A Woman showing that Smalllife have a marked penchant for the genre. Smalllife call it melodic rock but to my ears it has all the hallmarks of classic rock, red in tooth and claw. One of the standouts of All The Things You Said was the lead vocal, and the same power and versatility of that voice is brought to bear on Need to Buy A Woman.

Which, btw, is top of my fantasy shopping list :D

It's the vocal that is the most outstanding feature of this track too, dominating the proceedings with an authority and power that provides a great many fekk me (as in fuuuuuccckkkk meeeee) moments for aspiring rock vocalists. The very best rock needs a focal point and all the best bands have that, as indeed does Smalllife. Think of any great rock vocalist and you will find a bit of that magic in either of the band's tracks I have heard so far. Commercial? Absolutely, and I defy you to take a quick listen and not agree with me. In rock music, only one thing counts; the ability to make jaws drop. This track, as a consequence, will flip your head right off your shoulders...

leaving your ears conveniently in place so you can marvel and gawp.

All of the above makes light, of course, of the engine powering this fantastical beast, the music and the production thereof. It took me forever to get past the voice enough so I could suss out what was actually going on musically, and again the only reference I can can find is classic rock: big drums, walking basslines and crunchy, chordy guitars. No matter how hard I tried to find some fault in this track, I couldn't find anything at all I would want done in any other way. I gave their last track a Must Have rating and I just know I'm going to get me arm bent again because of the subject matter this track deals with but hey, I'm here for the music. Impressed? Not many, Bennny.

Vocal of the year, unquestionably, and a blistering MUST HAVE track.