Monday, 30 January 2017

New Podcast: xxyyzz transmission episode 1 (january 2017)

January 2017 sees the launch of xxyyzz transmission, a new music podcast hosted by Glen Byford with the sole aim of sharing and enjoying good music.

Below you will find an embedded stream and full track listing for Desperately Seeking Susan Boyle's brand new podcast

It felt like a natural progression from writing about music to actually filling your ears with music and talking about it too, so to mark the start of a new year we look at the one just passed, in the form of new music from new artists, new music from older, more recognisable artists, and older music from older artists still, those that are sadly no longer with us to witness whatever 2017 may bring...

Some of these artists have already been featured or reviewed on Desperately Seeking Susan Boyle, and others are sure to feature prominently as 2017 continues to unfold...

To help keep up with all the artists featured in xxyyzz transmission episode 1, a full track listing features below, including relevant links to music streaming sites or social media accounts where possible.

And thanks also go to Ian Byford Art for specially creating the artwork for our new podcast.

1. Warpaint - New Song
2. Annie Keller - Sandwishes
3. Catholic Action - Rita Ora
4. Idles - Well Done
5. Sit Down - Candy Bar
6. Beyoncé - 6 Inch (feat. The Weeknd)
7. Childish Gambino - Redbone
8. Centau - Over You (feat. Hanna Marie
reviewed on Desperately Seeking Susan Boyle
9. The Invisible - Dreamscape 
reviewed on Desperately Seeking Susan Boyle
10. Poet Palms - Opaque Motive 
reviewed on Desperately Seeking Susan Boyle
11. David Bowie - Little Wonder
12. Prince - Black Sweat
13. George Michael - Freek!
14. Mac McCaughan - Happy New Year (Prince Can't Die Again)
reviewed on Desperately Seeking Susan Boyle
15. Sagar - You're Free To Try Again
16. Rag'n'Bone Man - Human

Thursday, 26 January 2017

#ThrowbackThursday presents Tayalarz vol.6: Spectral Vapre (february 2014)

The Tayalarz mixtape series began life as a musical scavenger hunt, a quest to source free music and present it in the classic format of putting one song after another in order to create a customised recommendation of good music.

Now these mixes have found new life as one continuous, flowing mix upon the shores of mixcloud, and despite the passing of time I feel these still stand strong as seasonal soundtracks to the months that spawned them.

We now present, for the first time ever, the long lost 6th volume, due for release in February 2014, but delayed and derailed by errant artwork....

And so, embedded below is Taylarz vol.6, ahead of a new music project from Desperately Seeking Susan Boyle that'll be hitting mixcloud before the end of the month.....

From February 2014:

With enough wallowing in January done, we are now galloping ever forward with 2014 and, although it may be a little behind some of my contemporaries, the February edition of the Tayalarz mixtape takes a look at some of those tipped for big things this year, as well as featuring a few of some of our own discoveries and favourites that we hope to hear a lot more from as the forthcoming months progress

Only time will tell who will make it and who will be left behind, but for now let's just enjoy the majesty of their music, sourced for free via a number of blogs and websites and all compiled into a neat little list of links masquerading as the following tracklist

and for the last time, the artwork was provided by Ted Joyce, as it has been for the previous two months also, who not only has displayed his talent as a graphic designer, he also displays his musical skills as the lead singer of Decoy Jet who are featured in this very mixtape

1.  The Dexters - Oceans (demo)
2.  Decoy Jet - Georgia
3.  Circa Waves - Good for me
4.  Chloe Howl - I wish I could tell you
5.  George Ezra - You don't have to be in the army to fight the war
6.  FTSE - a little sumthin
7.  Foxes - White Coats
8.  Neon Jungle - Braveheart
9.  FKA Twigs - Water me (Hunchback remix)
10. Ancient Mermaids - luvu 2 pieces
11. Sheen - Lovelust
12. Guardian Ghost - The Wilderness

Thursday, 12 January 2017

#ThrowbackThursday presents Tayalarz vol.5: Lemons Rubik (january 2014)

The Tayalarz mixtape series began life as a musical scavenger hunt, a quest to source free music and present it in the classic format of putting one song after another in order to create a customised recommendation of good music.

Now these mixes have found new life as one continuous, flowing mix upon the shores of mixcloud, and despite the passing of time I feel these still stand strong as seasonal soundtracks to the months that spawned them.

And so, embedded below is Taylarz vol.5, ahead of a new music project from Desperately Seeking Susan Boyle that'll be hitting mixcloud before the end of the month.....

Saturday, 31 December 2016

Mac McCaughan - Happy New Year (Prince Can't Die Again), single review


that was 2016...

And for the majority of responsive adults that managed to keep their eyes open and senses as far from dulled as was humanly possible for the entire twelve months, it is perhaps a fair conclusion to make that it was a rather messed up year.

I'm not here to document every notable passing or offer commentary on human tragedies and political unrest, I'm simply here to bring everyone's attention to a little ditty that was recorded on Christmas Eve of this year, and rings true with many of the sentiments that we have felt flowing through us at some point or another.

Happy New Year (Prince Can't Die Again) is joyful in its sadness, it is poignant in its power of empathy, it is good-spirited in the face of another year that will soon be upon us before we've barely got to grips with this one.

none of us know what will await us, and it almost felt as if all hope had left us in 2016 and that 2017 is just another impending threat... but we can greet it with a song on our lips more apt than Auld Langs Syne...

Happy New Year.

Wednesday, 16 November 2016

The Invisible - MK-ULTRA, album review

MKUltra... A prime example of heightened paranoia and the conspiracy theory culture that has risen in the digital age alongside omnipotent social networking and a right-swiping society with a deteriorating attention span, although the US government's illegal mind control programme may not be as prevalent as tinder and snapchat, it has certainly taken its rightful place in the niche corners of the internet that firmly believes the world's most popular music artists are among the highest order of the illuminati...

Whilst Rihanna and Jay-Z's suspicious status has yet to be proven, MKUltra is (or was) very real, and has given birth to a creative response among the arts that plays on our fears of government power.  Forget off-shore tax havens and shady allowances made for second properties, for there are far more sinister strings that have been pulled in an attempt to create sleeper soldiers through mind control and experiments with LSD.

More than 40 years since proof of these practises came to light, The Invisible, aka Enfield multi-instrumentalist Jake Bradford-Sharp, takes this subject as inspiration for his debut long player, a concept album that not only threads together a fictionalised account of an MKUltra test patient but also weaves together a rich tapestry of musical influences that reach back through the decades almost as far back as the controversial practise itself.

The 60s psychedelic influence of Pink Floyd is an obvious one to tag this release with, along with the expansive and progressive sounds of the 70s that could be heard emanating from the likes of Yes, but harder edged guitar riffs call to mind rock titans such as Black Sabbath, and a far more recent touchstone would also be Muse, who have managed to fuse stadium rock with a sense of the overblown and an overbearing theme of paranoia and political mis-trust.

Perhaps the strongest thread that runs through this accomplished debut is a home-grown predilection for British eccentricity that is not only self evident but also self serving in the aforementioned works of Syd Barrett, Rick Wakeman and Matt Bellamy, and is explored here through no mere pastiche or doe-eyed hero worship, this has been seriously crafted in a way that blends musical styles and extravagant opuses without feeling bloated or over-reaching, and I constantly have to remind myself that this is all the work of just one musician... in fact the involvement of others could possibly have diluted such an ambitious and focused piece of art.

Here is an album that challenges you to put aside distractions for its duration in what is another conscious decision to go against the grain of modern music, and each track opens itself up to deeper dissection of both a critical and literary nature... I hear shades of Tom Vek in brief opener Inside Voices, but I also hear an awakening experience, there are three key tracks that each have their sights set on reaching epic proportions standing tall within the framework of the album, but the shifting sonic identity within these longer tracks and the flow of the album raises the listener's own questions as to whether one track has truly ended and another one yet begun, surely a reflection of the inner turmoil and disturbed psyche of MKUltra patients.  Recollections of mind-control experimentation collide with musical experimentation perfectly, and This Drug, The Discovery, and Dreamscape all are fascinating in their ability to hold your attention as they unravel over an extended run time, again I'm reminded of the paranoid stadium rock of Muse, but also of mostly forgotten early-noughties vanguard noiseniks The Cooper Temple Clause and (the sole American group brought to my mind) The Flaming Lips, and their own uncompromising approach to making music since the band's inception, except right now there isn't a single pink robot in sight...

Each listen reveals further depths not only in the sonic construct of MK-ULTRA, but also in the storytelling that the 'concept' of the album is pinned upon, providing a cohesive story structure that complements and mirrors the equally cohesive marriage of myriad styles and sounds.

Monday, 19 September 2016

Centau - Centau, album review

Writing, recording and releasing music is a labour of love, and this fast paced digital age has made creative technologies more affordable and more accessible, but that doesn't necessarily mean that every song and shred of music that makes its way online is worthy of further attention.

Thankfully there are acts such as Centau that are a testament to hard work and talent paying off and producing a polished end-product, the work of Enfield's Raihan Rubin, this solo project and self-titled debut album that recently landed on all major streaming services is a study in dynamic rock, and the knowledge that it had been solely constructed with minimal input from outside forces only makes the listening experience all the more bewildering.

Whilst the vocals may not be the most conventional to have been heard alongside such driven drums and guitar riffs, the sheer ambition and craftsmanship that has been poured into producing such a professional end-product is breathtaking and makes for an inspirational story for any aspiring bedroom music maestros, the intricate guitar work and multi-tracked vocal takes seem faultless and each new listen brings about another nuance that I had previously missed in the mix.

To my ears, Centau harks back to 90s era rock bands that struck big and found themselves filling stadiums as they filled the gap left by grunge and the earlier hair-metal of the 80s, shades of Smashing Pumpkins and Foo Fighters are present alongside a number of other contemporaries, but I can also hear the more modern sounds of Muse and Biffy Clyro ringing through in the style and tone of the album, but what I can hear most is maturity.... This sounds like an album that has grown, perhaps this is the result of one man at the controls, the entire thing sounds considered, but this can't just be put down to sole working practises, the entire operation and resultant sound must have been intentional.

As a D.I.Y produced debut album, it outstrips any and all expectations put upon it.

Tuesday, 26 July 2016

in conversation with Those Handsome Animals

2016 has seen the return of Those Handsome Animals, with new music released and their own Hoxton-based club night.  I posed a handful of questions to lead singer and guitarist Thomas Millett ahead of the latest installment of their Prolific Lover Club this Friday at Zigfrid Von Underbelly...

I’ve followed Those Handsome Animals since the very beginning and it's been a sporadic trajectory, would you care to share a potted history of the band and introduce yourselves?

Me and Gav (vocals and guitars) started making music together in 2010, we were a 3 piece then with Gav on the bass, which is hilarious because he’s a way better guitarist than me. We was making music that was more akin to the Cure at the time, heavy reverbed dream pop but we got a bit bored with it, everyone sounded like that at the time (think The Drums). 

Gavin went traveling for a while and we just stopped making music for 4 years. After that whopping break we got back together, turned off the reverb, and decided harmonised guitars and power chords are the way forward. We was hell bent on sounding like no one around today. We recruited Thomas Beavis on Bass (a colleague of Gavin's) and most recently Derrick Carter (a uni friend of mine) on Drums. Together we have become almost brutal in sound, but trying to do this in a way that’s not been done before.

When I approached you about reviewing your latest single, you commented that you was moving away from the pigeonhole of 'indie', is indie a dirty word? Where is the band's sound heading now?

It’s not a dirty word, it’s just not right for us. 

When we get press everyone says we sound like various random 00’s indie bands, but the truth is we sound like none of them. We’re influenced by some of them sure (**cough** The Cribs), but I don’t feel part of it. The fact no one can unanimously describe us the same makes me think we're onto something new. 

The band’s sound is constantly being refined with each release. We have two guitars in the band, so we make the most of it, in songs like Rant Wildly and Right Fit For the City we both play lead. I hate guitarists that just play chords and the other solos, it’s boring. 

We’re now working on Hits vol. 2 - which has some new developments for us, mainly Gavin taking lead vocals on a few tracks. He’s got a deeper voice than me so we’re getting a bit of a Strummer / Jones vibe. We’re also working on acoustic stuff that is heavily influenced by The Faces, for too long acoustic songs have been wimpy... no longer.

Your lyrics have always held a down to earth, kitchen-sink drama quality that I've found relatable and fascinating, who do you hold in the highest regard in terms of songwriting?

I like characters, oddballs. For me my favourite songwriters are people like Jarvis Cocker, Black Francis & Jeffrey Lewis. 

They are themselves and write songs only they can sing. Everyone can write something generic (and most people do), but these guys have no intention of doing that, and neither do I. They don’t pretend to be anyone else, I like that. I see way too many people that seem fake fronting bands, It’s all style, but not with these lot. That rubbed off on me, I try to write as honest as I can, and then bury it under alliteration and imagery. 

Fun fact: We got our name from Jeffrey Lewis’ song “Slogans”.

Jared Leto; musical output or cinematic output?

Oh god, his cinematic output everyday.

The world finally gets to the witness the full unveiling of Jared Leto's turn as the Joker next month... If you was tasked with providing a new soundtrack to a Jared Leto movie, which would you choose?

Can I choose Fight Club? He’s not really the star but he’s in it. 

I’ve been working on a lot of instrumental stuff lately, it would soundtrack one of those fight scenes perfectly. Think Fuckin in the Bushes, but with a ridiculous amount of guitar harmonies in it.

Those Handsome Animals play Prolific Lovers Club @ Zigfrid Von Underbelly on Friday 29th July