Oxfordshire born erstwhile songstress Thea Gilmore continues to grow in searching poetic nature and, having exorcised the demon of depression. Her songs now encapsulate worldly wise viewpoints, supported by winding, trotting percussion led enveloping instrumentals. ‘You’re The Radio’, is the lead single from her tenth album ‘Murphy’s Heart’. Clear and rising, yet darkly veiled vocal clarity of the Sheryl Crow ilk, grips hold of ‘You’re The Radio’, as the old “opposites attract” phenomenon is put under her  charming, life magnifying microscope.

A winding , slightly bluesy acoustic guitar nudged intro’ is given a forlorn edge, by the stirring low-key vocal touch that builds and builds, as the confidence grows. More body and a stern echo means that her points are well made. Gilmore’s reputation for merging cathartic with the upbeat, will continue to flourish and the twenty album mark could be reached sooner than you think.

www.fulfill.co.uk

Rating: 3.5/5

 

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A lurking irony shadows tonight’s set of hanging rock spliced with a bit of brazen strutting indie from the hardwearing Burtonwood/Warrington troupe, Bony Ghosts.  This Festival appearance in front of a hefty, appreciative crowd as part of a well put together event in their home town is their last ever gig. Ever since starting out as The Black Dogs, they’ve mingled atmospherically implanted infectious hanging rock with an urban growl and have always delivered it with heart, energy and a mystical touch. Yet you can’t help feeling that if they were from the nearby enemy town of Wigan that has a consistently supportive, well followed and well documented scene. Then they’d probably be on the verge of releasing at least their second album as a signed band by now. Instead, like the Dutch football team they’re left to rue near misses.

All of the above could well have been praying on their minds and is helping them deliver a well drilled set of gruelling and gliding rock. Front man, Kevin Gregory complements the line up on the stage with a bolshy, at ease and also endearing entrance, qualities that he maintains throughout the set. Harnessing the stirring pull of the searing atmospheric guitars and some hanging, melting keys for opener ‘Feeling Strange’, Gregory haughtily hovers his hazy vocals.  Underlining the piercing lyrics and, it’s making a few scenesters a little uncomfortable:

                                           “Your life is a lie, Your life is a lie.”      

An angry vocal echo drives the streetwise, Sound Of Guns mirroring ‘Mona Lisa’. Despite the usual Festival custom of no sound-check, each instrumental elements contribution is given equal exposure. The keyboard kick seems to be more noticeable tonight, gushing percussion push this mini-epic forward into old skool rock territory. In a night of irony, Bony Ghosts final set is one full of promise and pride, it’s here where you’d usually see the line the future is bright instead it should just really be a full stop!.

www.myspace.com/bonyghosts

Rating: 4/5

Stomping Tori Amos and Sheryl Crow spirited horn hounded pop rises in tempo and spirit, as this Berlin based singer/songwriter oozes confidence, independence and heart-on-sleeve honesty. This is just in opener ‘Write About It’ that kicks of this flighty and self delving five track EP. Lenz uses her hearty clarity along with the power and pull of rhythmic handclapping and a bounding horn led instrumental. The song provides spirit, rhythm and lyrical bemusement, particularly in affairs of the heart:

                 “I know you, you’re a part of me: a ghost inside my chest.”

Positive vocal delivery and wandering pop instrumentalism is often contrasted by aching, fatalistic lyrics. Lenz shows that she can pitch her vocals anywhere from sombre and longing to hounding, full-bodied and most spots in-between as well.  ‘Band-Aid Man’, uses a digital toe to help give the gruffer, Bjorkesque vocal leanings and overall mystique a more pronounced impact. Occasional frantic touches add to the compelling nature of this worrisome sojourn.

You can’t have five tracks that explore the nature of human emotions and the impact of them, without including one spindling, key-led and soul-searching ballad. ‘Song For Sea’, is the EP’s offering of this ilk. It captures the spirit and depth of Natalie Merchant, appearing heart-tugging, yet genuine and wandering at the same time. This follow up to the limited release debut album of last year, possesses enough tenderness, deep delving, instrumental weaving and a splash of cynicism in order to earn Lenz some exposure and respect.

www.alevlenz.com

Rating; 4/5

I'm not sure why I love Italian Prog. Deep down i think it may be my affair with PFM in the seventies and whilst that in itself is enough to justify the obsession, there are bands constantly emanating from Italy to this day that beat most of the UK's prog output.

 

Eveline with their alternative indie jazz electro prog openly admit that they take their sound from the Canterburybands in the 70's. The Watch, a great band in their own right take classic Genesis songs and perform them alongside their own. Moongarden are unashamedly prog but also incredibly brilliant. Now we have Dropshard currently recording a debut album but at the same time working hard and playing lots of live shows.

 

We found this taster called 'Images of Mind'. It's amateur footage but an incredibly good track building up to a stunning Mellotron finale.

If you are slightly interested in Prog this band are a must.

 

http://www.facebook.com/pages/Dropshard/...

 

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Given the bubbly, expansive key-led instrumental tinker provided by courtesy of Art Terry that paves the way for the lush and mildly lagging, clear vocal tug of Ali Howard. You’d be forgiven for thinking that it was Jools Holland and not, Billy Bragg who personally invited the pulsing London pop pickers of Lucky Soul, for their recent Glastonbury debut.

‘Up In Flames’,  is a beacon of hearty foraging and uplifting pop that builds from a sombre and reflective intro’, also providing a warning for those who wantonly create a rod for their own back. This sauntering single neatly paves the way for a second album that could divide the pop genre. By showing that you can still have lyrical depth, independence and sincere delivery, yet still be able provide freshness in this particular genre.

www.myspace.com/luckysoulluckysoul

 

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Rating; 4/5

Female singer/songwriters have been round every corner over the last couple of years and save for the likes of Laura Marling and Imogen Heap, they all start sounding a bit samey.

 

It was refreshing, therefore, that Hattie Snooks' 'The Birds' bucks this trend and goes a little deeper beneath the surface. Intelligent use of strings give this song a melancholy but touching ambience and Hattie's voice is just about perfect for the subject matter. i.e not too sweet but deeper and more authentic sounding. Totally believable that this is sung from the heart.

 

A graduate of Brighton Institute of Modern Music, Hattie has become a Brighton firm favourite having played such prestigious venues as the Komedia and the Concorde II, as well as Brighton Live 2008 and 2009, The Great Escape and The Brunswick Square Festival. Hattie signed to Rann Records in 2008 and released her debut EP in July 2009.

Hattie Snooks' EP "Bon Appetit" is distributed digitally through Universal and Genepool and can be downloaded everywhere from iTunes to Amazon, Spotify, Play.com, 7 digital and more. The CD has be purchased online at www.rannrecords.co.uk

 

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Rating: 4/5