Disjointed atmospheric rock, conjures up a sound that depicted the genre before The Sonic Youth stomped in to make it their own. This is the grinding approach taken by the sturdy 50ft Woman in lead track, ‘(Strictly) Only Swinging’. Minki mirrors her physical appearance by standing out from the band with her grittily aching vocal lag. At times, this clatters clumsily into the twisting guitars and shimmering percussion. Desperation and a ballsy strut combine ruggedly to ooze bemusement and low-key defiance.

‘Psychic Hygiene’, mingles together swinging goth/pop, a sordid nature and low-key rock that build around Mincki’s luridly lucid narrative. The odd stammered word highlights this tale of eccentricity in our modern, competitive world:

                  “Scratching, biting, girls are always fighting for a fuller figure.

                     Finger’s on the trigger; old dogs news tricks.”

A stirring pop rhythm suits the more mainstream vocal hover, showing that this London based quintet can also do slow and harmonious too, ‘You’re In Love (But You Ain’t in Love With Me)’. This London based, lurid life exposing London based quintet show here that they possess variety and some needed mystery. This should afford them the chance to make it out of the capital and into the public domain, for how long? Well, that all depends on how long they can keep it fresh for?

www.50ftwoman.com

Rating: 3.5/5

 

{mosmodule module=tweet}

Kelis fighting over the last seat on the bus with Salt N’ Peppa, with an added distorted cosmopolitan slant, is the initial impression many will get of Metals’ debut single, ‘Drop Your Guard’. This is before the vocals take on a twisted, distorted feel and a funky soul disco/electronica backdrop, adds to the provocative variety on display. The message that ditherers will not be tolerated is well and truly driven home.

The occasional orbital digital touch keeps the freshness pouring, as Candice Butler leads the way with a dramatic and mysterious vocal performance. Feistiness and a self-assured streak is contrasted by a warming echo, making Metals a potential act of contrast.

www.metalsmusic.com

Rating: 3.5/5

 

{mosmodule module=tweet}

Mixing a digital tag with symphonic programming and keys, sees the London trio of IS Tropical’ building up some mystique and lounge relaxation through sophomore single, ‘South Pacific’. An atmospheric echo builds up neatly to the distorted and thoughtful vocals that have a poetic edge. The backdrop is given a sonic kick, before the track morphs into a lounge/disco vibe.

Groove Armada territory is stepped into with misty sincerity and unobtrusively, so a trespassing conviction is unlikely. The lead combination of Gary Barber and Simon Milner, continues to steer the good ship IS Tropical into mainstream lounge/pop territory, as their debut album looms invitingly on the horizon.

Rating: 3/5

www.istropical.com

 

{mosmodule module=tweet}

The coming together of a prodigiously talented performer, ex-child star and Rilo Kiley steerer Jenny Watson, with the lyrical passion and drive of alt. Folkster Jonathan Rice, has always been a potentially mouth-watering prospect. Having occasionally joined each other onstage in their respective music careers this texturing of the country/folk and mild rock genre was always on the cards. Sparsely ambient percussion provided by courtesy of Rilo Kiley’s Jason Boesel and, Lewis’ longingly expressive and echoing vocals are coated by the mystical intoxicated lag of Rice for the varied, atmospheric folk twist of ‘Scissor Runner’. The expected lyrical nous of the pair is celebrated with literary references and sharp prose, as well as the odd edgy extended vocal trade off between the two leads in the political nettle grasping, ‘My Pet Snakes’:

“Two thousand and nine was a bastard of a year, I cannot get stoned no more I only get the fear.

  We could have it out or we could have another beer? All the best of luck with your career!”

Acoustic weaving and boldness shines out through the lovelorn Rice vocal toed, ‘Switch Blade’ and, when percussion boldness takes over for the lo-fi folk rocking ‘Big Way’, a neat contrast is achieved. Religious undertones filter through some of the numbers, such as in the slow and full bodied percussion boomed, sternly lingering and gruff male vocal kicked, ‘Animal’.

A drawling acoustic indie toe and lagging vocals spews out urban mysticism and heart, ‘New Yorker Cartoon’. It represents the smoothest vocal interaction between Jonny and Jenny, having the ability to warm you with smoothness yet set off your melancholy with a mild blues lag. Just when you think that you have been showered in enough refreshing variety, the coup de grace of a Status Quo strutting guitar pushed, ‘Committed’ gives you the opportunity to get your stomp on.

Collaborations are usually hit or miss and, are often done through a hint of desperation to bring freshness to acts that are going stale. This is certainly not the case here, Lewis and Rice retain their individuality and freshness yet combine their qualities, variety and enthusiasm for music making, extremely well.

www.myspace.com/jennyandjohnny

Rating: 4.5/5

 

{mosmodule module=tweet)

Despite the odd skirmish with a bouncer at a gig venue during the promotion of their first album, it represented a genuine and sturdy, atmospheric indie start for the Brighton pair of Steve Ansell and Laura-Mary Carter. Their combined mysticism and grind makes up Blood Red Shoes. With this lo-fi stomp, ‘Light It Up’ that is extracted from their already lauded second album, they bear out the continuing influence of The Pixies and The Sonic Youth.

Ansell provides the bracing vocal moments that roll over a churning slow guitar riff and light rattling percussion. It provides for a bracing building up to the part frantic, part miffed and third part tension release of a chorus that’s punctuated by the 70s punk backing shout. Blood Red Shoes, provides enough of a mix of thoughtful and frantic to keep the bemused youth of today, relatively contented.

Rating: 3.5/5

www.bloodredshoes.com

 

{mosmodule module=tweet}

UB 40’s voice man tries to lure you in to his fourth solo album with this slowly bounding soul/folk and speckle of reggae exploration of a lead single, ‘Carrie Anne’. You’d have to be music’s equivalent of Hansel and/or Gretel to be lured in by the simplistic lyrical swagger, on top of the churning, grating guitar and percussion looping and overall laboured instrumental welding.

 It’s an earnest, but largely uninspiring effort. It does enough to suggest that, Campbell still has the ability to sooth and unwind by conjuring up more lyrical exploration and instrumental robustness. He just chooses not to do so here.
 

Rating: 2/5

www.alicampbell.net