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.

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.

Hanna's Marines - Be Bolder, single review

It is with a sense of social pride that I will always stand by and support local artists, but when you've seen an undeniable talent blossom over the years and can still be staggered by the depth of their music then you've got to put that down to more than just rooting for the home team.

Such is the case of Hanna Mehmet, front-woman of Hanna's Marines, on the campaign trail to push their new single Be Bolder she drops me a line to see if I'd give it a little push, and why wouldn't I?

But I wasn't prepared to be stopped in my paces by it. I stick it on to give it a listen and see if I can form a few opinions on it, and when Hanna begins singing the track suddenly takes on an intensely intimate quality, the song itself earnestly implores for commitment, for a show of strength, the strong vocal display juxtaposed perfectly against the fragility of the emotion, all of which is echoed through the slow-burning, epic qualities of the music that swells and beats a yearning pulse, truly coming to life to soundtrack the ache of wounded hearts.

It is a gut-wrenching three minutes, delivering voyeuristic chills up my spine with each insatiable listen.

I listened to it through a sense of social duty.

But I love it and continue to listen to it with the most well deserved sense of social pride.

 

Be Bolder is available now via Bandcamp and Soundcloud

the pitfalls of living a disconnected life in a digital age

I've had a phone stolen, put one through the washing machine with my work trousers and lost one under about a foot of fake snow at a New Years Eve party at the Scala.

But when my HTC Desire decided to give up the ghost earlier the week, things were different. This was my first smart phone, my connection to the world that went beyond missing out an a few texts or the odd call. ok, it's a slight hindrance to the way I lead my life, but it's no big deal.

so as me and my girlfriend head our separate ways at Liverpool Street station with half made plans to meet again at a certain time if the fates allow, otherwise I'll see her at home.

I was out and about to witness a handful of Enfield's bands dragging themselves away from the Bush Hill Park Tavern for once, I've seen one of my boroughs most beloved bands struggle for attendance as close to home as Camden, so I thought I'd support my boys, support my friends and make the journey along especially. I'd made no promises to anyone, thought I'd just turn up and surprise them, but it was me that was surprised as I descended to the basement bar of the Spitalfields venue.

The doors opened at half 7, first band on at quarter to eight, it was now quarter past eight and I found myself stood in an empty room, just me and one other guy that told me through a muffled mouth of sandwich that the gig was cancelled.

'band members were underage' i just about deciphered before he swallowed.

I wandered aimlessly for a short while, hoping that a recognisable Enfieldian or two would be propping up one of a handful of nearby bars while I weighed up my options.

On any normal evening I'd have checked facebook and twitter for updates on the rather dire situation, texted or called one of my mates playing, been hopping on the train back to the more familiar and predictable surroundings of Bush Hill Park and let my girlfriend know the dealio.

Most normal evenings don't result in me nursing a pint of ale for an hour and forty minutes, sat on my own reading a book in a pub in Great Portland Street before descending down the stairs to the comic-book wallpapered lower level where my other half is among a roomful of uke players , merrily strumming away and singing their way through a songbook projected at the front of the room.

So whilst, unbeknownst to me, Decoy Jet, Building The Songbird and Echochain turn a soured experience into a show of solidarity in front of a rabid home crowd, I grabbed another drink and settled in amongst the well lubricated throng for mass singalongs of Oasis and Mumford and Sons before revealing my presence to my girlfriend.

Sure, it wasn't a normal evening, but sometimes the simple joy of the unexpected is just as rewarding.

(although all the missed instagram opportunities are killing me now)



I

Return of The Bush: Live Review

London's Astoria, New York's CBGB, Manchester's Hacienda, Liverpool's Cavern Club and the Bush Hill Park Tavern....

Those living outside of the North London borough of Enfield may have possibly been unaware that the ornate old building that looms large near the tucked away Bush Hill Park rail station holds just as much cultural significance to local music fans as the aforementioned legendary venues do to the rest of the world at large.

Despite not quite carrying the same pedigree as more well known sweat boxes, it is the sporadic and erratic timing of the gigs held in the usually serene boozer's function room that has made this place a firm favourite of my home town.

Last weekend saw The Return Of The Bush ushering in a new age for the Enfield music scene, as familiar faces from familiar bands that themselves were no strangers to this back-room's charms took to the stage in new incarnations, gathering under one roof and kicking to the curb rumours that our beloved scene had faltered and fallen for good.

The vibrancy and diversity of musical tribes converged in unity as a sliding scale of genres was represented over the course of just one evening, from the opening mod-influenced indie rockers Decoy Jet, through the psychedelia-laced Four Sheets To The Wind and the unstoppable funk of Deep Seed. Whilst those that prefer the heavier side of life witnessed the debut gig of Building The Songbird tackling atmospheric post-hardcore, the last ever performance from metallers Red Button Exit, who bowed out in style with a 'Wall of Death' mosh pit and headliners Hands Of A Saviour, who were left to cap the evening off by hitting the Bush with the force of a ten-tonne truck.



Whilst other towns and other venues may boast more consistent musical programmes, it has been the impromptu planning and long absences that makes every small gig held at The Bush feel like an event, with local bands clamouring to get involved, and the punters treating these rare musical outings in our little corner of North London as joyous celebrations, supporting our friends and peers and not having too far to travel home afterwards.

And for now, the scene feels revived, with new bands bearing the promise of carrying Enfield's musical legacy further forward, and loose lips swearing that it won't be too long until we see the Bush heaving, sweating and singing again.

UNX - Divide By Zero

I have never claimed to be, and likely never will be, a true connoisseur of metal music.

I fail to find the subtleties that are inherent in lurching, monster riffs and screamo vocals, yet when UNX, an Enfield band that I have witnessed the very earliest moments of, approach me to cast an ear over their debut EP, then I am overjoyed to have their raucous machinations bellowing out at me from my iTunes.

The brief intro that opens proceedings is the calm before the storm, a slow atmospheric build that precedes an EP of unrelenting intensity that once deciphered and decoded reveals an internal anguish and sense of alienation that has surely fuelled angry young men across the ages and is befitting of a vocal delivery that is akin to primal scream therapy and music that exists as a pure form of raw expressionism, a release of pent up energy and suppressed aggression.

Consisting of three full length tracks, and further buoyed by three other tracks of audio diversions, Divide By Zero clocks in at under thirteen minutes, hardly out staying its welcome, and is rounded out by UNX's crowning achievement, I Think Therefore I Am.

Bringing itself to a natural conclusion, the EP closer feels like what the band have been working towards. Lyrically, it is the strongest and most memorable track on the release, taking thematical threads that have run through earlier tracks, Severance and Incision, yet it feels musically more progressive than those tracks that have come before it, with epic chiming guitars ringing out, whilst incorporating a woozy and unsettling use of experimental sampling.

As the first chapter in the UNX story closes, I hope that this is a prelude of things to come, encompassing more diverse styles into the established heavy rock template and providing Enfield's proud lineage of metal bands with a brand new standard bearer as it marches ever onwards.

glassworks review roundup: march

it was last September that I was bemoaning the fact that any activity that was bringing new music my way via glasswerk had all but dried up as I posted the last couple of live reviews

so I finally took it upon myself to knock out a couple of reviews, both of which i have some personal investment in.

first up was the debut EP from a fledgling North London record label, that just so happens to be run by a couple of Enfield lads that I have crossed paths with a number of times, from their time performing together in Those Handsome Animals, and also separately in Retro Crooks and The Waterloos in the golden age of Enfield's live music scene.

but that is all in the past now, and they are now concentrating their efforts on sniffing out new talent as Njord and releasing limited edition cassettes with a lo-fi feel.

Connecticut born solo artist, Gift Lions, has the honour of kicking off their release schedule with 5 tracks that shimmer and glow with a nostalgic warmth, but you better move fast if you want to covet the physical format, as only 100 copies of the cassette release are in existence

Gift Lions review here





the second was a look at the latest single to be released by Akira The Don, who I have never shied away from heaping praise upon.

We Won't Be Broke Forever Baby, has long been a personal favourite of mine, teased out at occasional live performances long before being committed to record, featuring on the sophomore effort, The Life Equation and gaining itself a single release

Akira The Don review here




and with these two recent reviews under my belt I gathered up a bunch of contact details from promo CDs and sent out the feelers to see if anyone out there would like to send some new music my way

and some people did, I was rather disappointed with the bland Burning Shapes, rather more impressed with the subtle hip-hop head-nodder from Niko (which, due to technical difficulties, had to be reposted in April) and also gave the seal of approval to the debut album from film makers and art-collective turned musicians, Breton.

The press release may have been full of hot air in order to push the band's high-brow and artistic nature to anyone that would listen, but when the music was allowed to speak for itself it showed a highly diverse and post-modern collection of songs that may look set to infiltrate the public consciousness via car commercials if any advert executives spot this bands crossover potential, but don't hold that against them

Breton review here

The Twisted Hearts

as a fine purveyor of Enfield's local music scene, i was proud to have a physical copy of The Twisted Hearts' debut EP hand-delivered to my door by their drummer.  i had seen the band a few days prior at a charity fundraiser in Palmers Green, where the band had breezed through a blistering set that was short and sweet and all for a good cause, and had been promised a copy of the release would be heading my way very soon.

we stood there on the doorstep, making small talk, when it was noted that the cover of the CD was cracked, i was asked not to mention it in the review, i made no promises, but insisted that it would not reflect badly on my opinion of the music contained there-in (sorry Tom)

so let us concentrate on the music then!

the EP kicks off with a short 'Introduction' scheduled sensibly at the beginning, as if to whet our appetites, teasing lovers of the genre known as 'Rock' with an acoustic strumming that gives way to an electric guitar that swirls and soars before careering into the start proper of The Last Breath, that pulls no punches with its upfront riffs, pounding drums and grandstanding guitar solo.

© Annelie Rosencrantz 2011  http://www.anuli.co.uk/   

and as their debut progresses, we are shown a young band that are almost a step out of time with current trends, keeping with a traditional Rock n Roll sound that carries with it a bluesy garage stomp that features more than just a tip of the hat to the reverred sound of Jimi Hendrix and a mild case of psychedelia as evidenced on Paint Me Red.

with the exception of the down-tempo laid back funk of Chemistry, every track present seems to be more expansive than the small backroom venues that the band have been playing recently, equipping their garage-rock with an arena sized scope, especially with the revival of 80s hair metal guitar solos and power ballads in Walk To The Light that seems firmly aimed at Wembley and the lighters aloft tenderness of A Thousand Steps.

This isn't to say that there isn't room for improvement, with the recordings occasionally sounding a little rough around the edges, but The Twisted Hearts have clearly found their own niche and are revelling in it right now, with more gigs upcoming and a convincing statement of intent in the form of their debut EP, they have marked themselves out as a local act to keep an eye on.


stream: Walk To The Light by The Twisted Hearts
from the EP, The Twisted Hearts EP



credit where it's due:
photograph © Annelie Rosencrantz 2011  http://www.anuli.co.uk/  

Worst Case Scenario

in a band?

broke?

don't worry about it.

shunning expensive studio time, Worst Case Scenario show local bands how it should be done, self recording and self releasing their debut EP.

'Lost In The Element', available through iTunes, is a clear indication of a D.I.Y ethos prevailing and proving how a clear talent and determination can shine through and give hope to other bedroom musicians.

Formed in 2005, Worst Case Scenario have garnered six years of experience performing live and becoming a well respected act amongst Enfield's musical community, and it is these years, along with a recent roll-call shake-up that has lead to the long overdue recording of 6 tracks, that were released in late October.

A laptop with Cubase was set up, a microphone was borrowed, £10 was invested in a pop-shield, a mic-stand was improvised by taping the microphone to the side of a door, and some friends and family were roped in to provide shouted vocal takes that were recorded onto a phone before being added to the final mix

and yet, aside from the EP's interesting and inspiring creation, the music speaks clearly for itself.

Mostly a mid-tempo affair with a number of crowning flourishes, the tracks featuring on 'Lost in the Element' connects the dots between a number of disparate influences, touching on the sounds of Red Hot Chili Peppers, Paramore and KT Tunstall amongst others.

As the EP plays through the opening 'Intro' and into 'Point of No Return' the band lay down their wares as a serious band with considerable talent, showcasing a tooled-up acoustic sound that permeates throughout the release.

with 'Save Myself' and 'This Is Your Truth' the strength of these mature songs, belying the youthfulness of the band, holds strong, whilst the musical direction simmers down until it reaches the stripped back, yet overwhelming, stand-out track, 'Whole Again'.

The EP seems to hinge on 'Whole Again', taking in the listener as the the pace has eased through four tracks out of six, only to be hit by a breathtakingly beautiful track that is all the more fragile through the sliding contrasts that have lead to that very point.

leaving us with only the closing salvo of 'Throw It Away' to once again kick things up a notch and round out an accomplished EP that signposts a promising future for Worst Case Scenario.

It may not have the professional sheen that these songs are clearly deserving of, but this is only the cherry on the top of a very pleasing cake that is missing,  it is still a powerful set of songs recorded and released in a manner that is a testament to one young band's capabilities and conviction.

 stream: Worst Case - Whole Again

9Blind: Live @ Camden Underworld

'We're 9Blind'

Those unacquainted with the North London rock band were served the briefest of introductions before the four-piece lunged headlong into their opening salvo of all new tracks, played in celebration of the 'Union EP' that had been uploaded to stream earlier in the week, ahead of its forthcoming official release.

Those that have followed 9Blind and contributed to their ongoing success had already familiarised themselves with the likes of Sincere Regards and Deleted Scenes, avoiding potentially embarrassing scenes of eager crowds shuffling awkwardly to dreaded 'new songs'.

The tracks played from the EP held no real surprises, and I doubt their fans would have it any other way, a change of direction would have been unwelcome, soaring guitars, drums being pounded into submission and vocals that flit from a screamo tendency to heartfelt and rousing singing are all part of the 9Blind signature sound that stands firm and these new songs bolster an already impressive arsenal of metal standards.

The wrapping up of new tracks laid out for those gathered was quickly followed by a diversionary blast through The Killers' Mr Brightside, given a testosterone injection and cranked up to 11 so that all the indie sheen falls away, leaving a chugging, metal monstrosity of a cover version.  And the singalongs continued with a brief clutch of familiar tracks plucked from last year's Negative Response To Change rounded out the night, headed up by my personal favourite, My Heart Bleeds.

One lowly drunk's careless and selfish moshing sadly halted the band whilst he was quickly ejected by the close-knit North London Bromance Core that follow 9Blind, this hold-up, combined with over-running supports and an impending clubnight in the same venue vastly truncated the headline set.

Having time for just two more songs before having to leave the stage, the evening was a joyful exhibition of a band's creations, though also troubled by minor inconveniences along the way, the most inconvenient of all being that physical copies of the EP that was due to be launched this very night, was sadly unavailable due to unforeseen circumstances.

Watching a band that hail from the same suburb as I do, facing such adversity when given an opportunity to shine is frustrating, but it is rewarding to watch 9Blind admirably battle on regardless.

credit where it's due:

photos courtesy of Chris Lawrence (DotCLP)

London Riots

Sunday 7th August.



I turn on my computer at around half six in the evening, intending to review the Crystal Fighters album that was re-released last Monday... but of course I log-in and check my facebook first.

And as the stream of most recent posts loads up i am greeted by photos of my local high street in the town that i live, that i work and that i have grown up in, with windows smashed, a police car with it's front window put through and degenerate youths running wild.

It was the first that I had seen or heard of any expected trouble in Enfield, following the devastating scenes of Tottenham that many woke up to on Sunday morning.

Any mind to do anything is soon forgotten as i quickly text friends and constantly refresh my twitter and facebook feeds, shocked by the few skirmishes that had broken out in broad daylight, but as darkness fell, and news networks finally began arriving, the trouble, and twitter rumours, only worsened, and i, like many other Enfield residents kept Sky News on repeat throughout the night.

In the cold light of day, it seemed that many problems had been overstated, none of Krispy Kremes, Cineworld or Nandos had gone up in flames the night prior and warnings of petrol bombs thrown on the A10 were pure chinese whispers that had quickly passed as fact.

Enfield Town itself was bewilderingly serene, as curiosity brought in those wanting to see the damage done, but as the afternoon drew on and grey clouds drew overhead, the atmosphere visibly changed, talk of offices recieving advice to evacuate prompted an ominous vibe that hung heavy in the air.

Thankfully we did not witness a repeat of the same scenes in Enfield Town.

Although sadly, the devastation continued across London and the UK.

Among the casualties of the widespread chaos was another Enfield location, and one significant to the country's music scene, as Sony's distribution centre, housing the entire back catalogues and stocks of many independent record labels was nothing more than a smouldering wreck by morning.

As opportunist thugs have channeled their energies into emptying the shelves of JJB sports, upstanding citizens have been co-ordinating marches and clean-up operations in response.

And I'm certain that more creative types will be using the current climate of social unease to inspire new music.

Whether it be joining together as a sign of unity at underground raves, or politically aware activists with a guitar strapped to their backs as they take to the streets. Genre, race and religion will be irrelevant.

Just like any other disaster of conflict faced, I'm sure we will get back on our feet again, soundtracked by musicians providing their very own social commentary.

My thoughts and prayers go out to everyone that is suffering and involved and caught up in this in anyway through no fault of their own.

  stream: I Love London by Crystal Fighters