Lydia Baylis' has made a career (so far) out of building powerful and anthemic folk-ridden tracks that can seamlessly resonate with most everyone. Lyrically, she is challenging and provocative, but the material this artist comes out with is still absolutely, utterly and completely accessible for fans of modern indie music; that's good news for you then.

Indeed, one of the most impressive things about the artist is how closely she holds her musical influences to the heart. Indeed, it's not always readily noticeable within her sound directly, but the “rawness” of Van Morrison is definitely present, alongside the attitude of Green Day via the top-class songwriting of Velvet Underground and the feel-good element of Bowie (yep... her first single Starman is a homage to the man himself.... props).

In terms of other, more lyrical passions, Lydia writes about what she sees, and how she feels in life, which, like we said, one can always relate to. It's a beautiful thing when a singer can bare their soul with true conviction and fortunately, Lydia does this every time she steps into the studio to record, or gets on the stage to perform with her band. If you fancy giving her a quick listen (and in case you haven't guessed yet, we think you should), then we can wholeheartedly pitch the aforementioned 'Starman' to you – it's all delicate keys, light guitars with seductive vocal tones, and quite charmingly is loosely based on the desire to be taken away into space and experience new life. Nice.

In another great stroke of luck, Lydia has been able to mix it up with the music industry's best and brightest talent-in-the-know over her time in "the biz". Namely, Ian Pickering (Sneaker Pimps), alongside writer and producer Paul Statham (Dido, Kylie Minogue, Simple Minds).

Having recently returned from New York where she has made significant contacts with proper production “big-wigs” in (the delightfully named) Crispin Thump (a team made up of writer/producer/engineer Augustus Skinner [EMF] and TV and film composer Ronan Coleman [Last Days On Earth]), things are going rather well for Miss Baylis, and deservedly so, we feel.

Before we finish up here, though, there's another key track that we'd really... really like for you to sink your musical teeth into; take a look-see at the new video for 'Autumn Soil'

This one really is a beauty, and it pulls the listener into a real soul-soothing aural journey – it's summer all year round with Lydia's effortlessly intriguing sound. Enjoy.

For more information visit the official Lydia Baylis Facebook:
https://www.facebook.com/lydiabaylis

 

Little Switzerland make delightfully succinct pop-tinged rock music that winds its way around the senses and will have audience members dancing and bobbin' about in a similar way to how The Maccabees, Foals or Bombay Bicycle Club might.

Having only formed at the tail-end of 2011, things have picked up rather quickly for this cheerful East Yorkshire indie foursome who have shown that they can cope with the big time by holding their own in the past while supporting Mystery Jets. Similarly, they'll be throwing themselves into the deep-end this coming August as they join the bill at established Yorkshire festival Galtres as support for the likes of Buzzcocks, Ocean Colour Scene and Adam Ant... good on you, lads.

It's difficult to pick just one stand-out from their short (but decidedly sweet) catalogue – we think, however, that 'Four Years Time' and the Alan Raw-approved 'Chit Chat' are most instantly accessible (and will possible translate the best out on a big festival stage?). The former employs touching guitar parts and progressive drum rolls for a nice, smooth effect. Meanwhile, the latter effort 'Chit Chat' is a little bit more frenzied (still with the progressive indie blueprint embedded), but with the slightest tinge of punk and a strong sense of drive and determination (maybe that comes across most in the lyrics: “You're bigger than them / you're a better man” though?) that feed through these summery sounds. All power to Little Switzerland's big sound!

For more information visit Little Switzerland's official Facebook:
https://www.facebook.com/LittleSwitzerlandband

 

I want more from Hugo Meredith-Hardy, a Cambridge singer-songwriter who is about to release his EP, “Gamble with the Upper Hand. Stepping away from covers, this eighteen year old has created a mature work that it is all his. In only six tracks, Meredith-Hardy forces us pay attention. 

“Gamble with the Upper Hand,” is an experiment in storytelling, and this is where Meredith-Hardy shines with clear scenes and strong characters. Scenes are contained in each song so vivid you can close your eyes and see them play before you. In the song “This Mist”, we can see a young man go insane, underscored by a consistently somewhat dark guitar riff and Meredith-Hardy’s sporadic use of lyrics quickly tumbling out of his throat. Despite sounding upbeat, these songs are about characters that are lost in their situations and looking for an escape. Who hasn’t felt that before? 

It is easy to see from “Gamble with the Upper Hand” why Hugo Meredith-Hardy is playing support for acts like Monument Valley and Pete Roe. He will be a nice surprise for any audience, who will bob their heads as soon as he starts strumming. “Gamble with the Upper Hand” will be released on June 1st, get it. 

Find out more about Hugo Meredith- Hardy:

facebook.com/hmhmusic
twitter.com/hmhardymusic
www.hugomh.com

And get his EP “Gamble with the Upper Hand” here: 
hmhmusic.bandcamp.com

 

-Jean Rebarchak 

 

The Dogbones are a weird band... and erm, they're really very proud of that fact, ladies and germs. Though, what would you honestly expect from a group of London-based misfits who (a couple of members) used to be in Queenadreena and The Mediaeval Baebes?

This is downright crazy, raw and energetic music with punk feel and a smidge of dirty glam influence that'll remind you why everyone found the likes of Marilyn Manson (in the 90s), Sonic Youth (in the 80s) Bowie, Iggy Pop and Lou Reed (in the 70s) so very very cool.

Tracks like 'Hey Chihuahua' and 'The Whole Word Is Weird' strike hard and fast, like an edgier more full-fat (and credible) Hole. There are no sugar-pop frills here. It's all about rough-and-ready riffs, blistering snare-heavy drumming and crazy, crazy nights featuring mannequins and a whole lot of paint (just watch some of the videos...).

If you put The Eighties Matchbox B-Line Disaster (RIP), QA, Daisy Chainsaw and My Bloody Valentine in a ring together to duke it out in a Battle Royale-style fight to the death, then this is what it would sound like on record.

This band deserves your attention. They'll hold (and potentially grab at) your ears and eyes for months to come. In short, The Dogbones are the last real rock band in the UK. You're just going to have to deal with that fact.

For more information visit the official Dogbones Facebook:
https://www.facebook.com/pages/The-Dogbones/17627469013

-TO

 

To Kill A King have a reputation for doing things out of the ordinary. The bunch of grass roots musicians have run a series of successful  gigs that play into the hands of their growing fan base, so when I caught wind of their latest “Guerilla” gig, saying no would have just been rude.  

Given a secret rendezvous at the last moment there was an air of suspense as to where we might be led. Cramped in the back on DLR train heading towards Lewisham, there was an air of excitement as we set off with To Kill A King leading the group of 30-odd people.  

The acoustics of a DLR train are not as bad as they may seem, with the sound of 3 TKAK classics echoing along the train, interest and pace gathered, causing a stir from all a manner of fans, security and commuters alike.  ‘Northern City’, ‘Bloody Shirt’ and ‘Family’ provided opportunity for the crowd to sing and tap along to as we meandered through the romantic bright lights of Canary Warf.

The final destination was a leafy Greenwich and by that time everyone had grown accustomed to each other as the pack were lead by the quintet to a charming pub venue. This half of the gig opened up with the Edith Bentall, from a young band know as The Violets. The singer gave a rip roaring performance weaving gentle, promising vocals around strums and plucks a plenty of harmonising guitars. In the very relaxed atmosphere she demonstrated fantastic musicianship and experience despite her young age that really set the bill for the performance to come.

The last part of the night totally focused on To Kill A King, with Ralph Pelleymounter demonstrating why TKAK are so popular. The rest of TKAK circled, performing an acapella set where instruments were almost redundant, with simple guitars and a deep humming cello. The guys tore through the set, performing precise harmonies over Ralph’s strums and plucks.

With the forthcoming album on the way later this year some of their new material was aired to the gripped pub audience.  Precise vocals provided a beautiful contrast and proved the band can very easily cope with a stripped down set. We just look forward to the album now.

MF

Tom Williams and The Boat have a busy programme ahead, with the release of their second studio album complete along comes a summer of promotion, gigs and festivals so their seems barely enough time a chat. Funded through PledgeMusic, Tom and Anthony Vicary (Williams’ lead guitarist) talk to me about their latest album and the future of the band.

Having a history of producing edgy folk/rock, Tom wraps deep dark melodies around simple strums, plucks and flexes. Going back a number of years Williams tells me where it all began. “We met in a local music venue in Tonbridge wells called the grey lady. It was the first venue I played locally and that’s where we were all playing in different bands”....... “At the end of the last album we got a new drummer, David, since then we’ve gone up and rocked out with the likes of ‘See My Evil’, ‘Get Older’”.

The latest album is the groups second and has been surrounded with a wealth of internet fervour. Tom wrote well over 130 songs during what appears to be a difficult patch in his life, seeking refuge in music where there appears to have been “no difficult second album”. Tom explains “Well its a break up album, there was about 130 songs (written) over 9 months. So it was alot over a short period of time. We turned it around quickly getting two albums out in two years. But it didn’t feel rushed”. 

Their second album has given them a fresh start and a new found confidence. Having an established sound and  the support of Moshi Moshi  they can develop on their already down to earth attitude.  “We were really confident in Teenage Blood, a couple of big tracks we thought would make the album didn’t.” Tom Continues, “Having Moshi Moshi providing support and advice I can take a step back. Now I can just listen to it normally and I think its a really good record. When we did the first album, I remember I got really embarrassed it about it after three months. There was just some tracks I didn’t like anymore”.

Having a down to earth, approachable attitude is something that seems to have helped them on the way, with too many bands not approachable these days the band have a fresh breeze about them and an air of calm as Tom tells me. “Moshi came onboard knowing how we did everything and they liked it. They liked what we had we had with our fans which is why we decided to do pledge.”  Pledge is an idea that is dear to the band, it gives fans of the band chance to support them and book them at a venue close to home . “Its important to us, we’ve been out slogging it for five years and we’re in no position to be aloof and not chat to normal people, cos we’re normal people, we thought its the best thing to do to be in an interactive environment”.

The group have gone round full circle with their two albums, and have always continued to develop their sound, even if it is not obvious. “It was weird we released ‘Concentrate’ and ‘90mph’ from almost no reaction at all. Then realised See my evil and Get Older as a fuck you kinda gesture and it went brilliantly well. By the time they came around again it went straight to playlist and everyone loved it again. It’s abit weird but I think what we tried to do with this record is hollow out the middle abit. Making it more accessible and poppy and its even darker. People think initially its not that dark but lyrically its darker”

Tom Williams & the Boat boast youth and experience and they’re live performances are certainly a special and intimate affair. Tom has a great capacity to invigorate you with his semi-spoken vocals which makes there live performances un-missable. Tom tells me what they have to look forward to. “Well we have a tour in June, a vote for where we play type thing, at the movement the winning towns are London, Birmingham, Manchester, Leeds and Tonbridge wells. We have a few festivals this summer like, secret garden party, bestial, lounge on the farm and stuff. And then last single out in September, maybe a little EP with a couple of tracks that weren’t released on the album. The I guess we will sit down with each other honestly and decided whether to make another record.” Lets hope they do!

-Matthew French

 

The title to the new Beach House album, ‘Bloom’ is rightfully apt. Although we once thought Beach House had flowered long ago, this only appears to have only been a mere burst of spring blossom and the true magic is forthwith. Their latest album shows their experience, depth and indeed proves that they have well and truly flowered.  The duo originating from Baltimore have accelerated their image in unimaginable terms, although they are by no means a stadium filler they boast a huge following  in the depths of the indie world, and their latest, forth full length effort flings them into a dimension that is set on spiraling them to greater heights.

Signed Two years ago, Victoria Legrand and Alex Scally launched their first defining record, ‘Teen Dream’.  It was a break-up album with themes of bitter sadness riddled throughout and the demise of a fruitful loving relationship. These feelings and themes seem to have ridden, dipped and dived with the band since their debut.  It was easy to wonder what that could carry forward, what we could expect next and what they could build upon but these doubts have quickly been quaft. ‘Bloom’ evolves around a clear fascination with youthful thoughts, the defining moments of that process, and clearly builds on everything the pair of embarked on before.

The 10 tracks that make up ‘Bloom’ carry you on a dreamy cloud of vocals, pulses and soft soothing sonics that leave a desire for more though the thought provoking journey. There are subtle flicks and twists and differences that show the indie sub pop duo’s clever evolution over their four album history. The landscape of ‘Bloom’ is richly diverse, though uncomplicated its beauty lies within its simplicity and myriad, indescribable features are left out.  “Wild” is a dazzling piece of electro indie-pop, it storms you with sonics, and focuses on the wispy, haze of Legrand’s vocals, casting your mind back to feelings of teenage belonging and faith entrusted in removing these seemingly difficult  and complicated childish feelings. Legrande’s, easy, woolen vocals blows life, as if she were kindling a gentle flicking flame. She has an ability to make even the simple lyrics seem powerful and takes them to a new place, deep into our memory.

‘Lazuli’ has a twinkle, balletic bends and synth pop flows that helps ensure the album plays and dances regardless of anyone’s care and attention. Despite the popularity it receives to its selected genre, it is treated with hushed tones, a discovery you want to keep personal, and a glimmering secret. The album has an injection of pace, defining a simply spectacular second half. A wash-washy collection of synths, tumbling sonics accompany her defining cotton wool croon.

The album is certainly something to admire. It is by no means too much, its quiet, simple, each listen focuses you and unveils new discovery’s that is perhaps a reason why they have everyone’s undivided attention now.  ‘Bloom’ seems to provide a dignified dawn to launching Beach House up to a new height. It’s busting with twinkles, dreamy, melodic swoops and feels like that ever so slight glimmer of sunlight dipping blew the horizon, having your sole focus against a forlorn background, leaving you with a lasting thought.

 

- Matthew French

@matthewfrench10

 

Anna Vincent of My Tiger My Timing is well known for producing jangly, melodic riffs, certainly classic summer music by definition. Yet the contrasting rain of a British spring at our London rendezvous seems a world away from the rhythm and sonics their debut sounds produce.                                                                                                                                                               Being one of five, Anna, (and her brother James,) seem to be the driving force behind the bands current success. Having helped craft the bands own label, Snakes & Ladders during the start up of what was soon to be My Tiger My Timing.

“The bands were doing things that weren’t focused enough and the sonic ideas weren’t really too well thought out” Anna starts. “We wanted to be more direct with the sound, more rhythmic, totally focused on the melody and have a more direct concept and vision.” Their sound has clearly matured and developed over the past four years, and the forthcoming album brings all these ideas into a sharpened spectrum that does indeed provide a unique, special sound.          

The debut album, ‘Celeste’, has been produced by Anna herself who seems to have a mediocre attitude to her work, being her first album it has been an interesting learning curve; suffice to say there is no need for her doubt. “With this album I’ve produced it, mixed it and it’s been quite a big job. It’s quite scary too as there is alot of learning as you go, lots of trial and error. Its been tough tho and I’ve learnt alot, in a good and bad way”                                                                          

As she shyly chuckles Anna’s confidence seems to grow. Everything about their work has been chosen and precisely placed, with layers and tones built up producing swirls and jangles aplenty, perfectly classed as “classic British pop music with a dark undertone” as Anna herself describes it. They have a history of experimenting with sounds, creating a new dimension giving them the confidence to be edgy and building a vast tension though their tracks. The 10 track album has been written around a scaffolding built up by Anna herself. After her initial overworked doubts she seems confident with the final mastered product.

“I was worried I wasn’t going to like it, I’ve been sitting almost every day doing the production, and I was really worried that I was going to hate it. I was almost too scared to listen to after it had been mastered, and when I put it on I thought, this is really good!”

Observing over the likes of Talking Heads, Blur and Pulp and friends with cult indie classic bands such as Django Django and Warpaint you can clearly see where their influences lie, Anna emphasises the love for clut British bands with a drive to “be in this tradition”. The band has a huge sonic palette to draw from, producing an impressive bank of songs. I put to Anna what is going to happen to anything that doesn’t make the final cut.

“I love that thing of people do, just doing a little EP, not even for sale. For me it’s about people hearing it, I don’t expect to make money for it. It’s just about the music for us. I’m never going to stop doing it!”

The group has a strong love for live performances. The night before the interview My Tiger My Timing played to a packed Barfly serenading them on a small European tour the following day. “As we haven’t played in a while we were really nervous last night, but it went really well.....its abit like riding a bike, you have to believe in it and hope you don’t fall off”.

The group were lucky to play Glastonbury in 2011 after coming runner up in the Emerging Talent Competition, launching them into the limelight on the John Peel stage - which could only have been a special moment for the youthful gang. “Well we were at Glasto last year, I was so pleased getting to play the John Peel Stage, it’s my favourite stage. It’s the place for all the up and coming bands to play, and bands that have just hit it.”

Finally, I put to Anna how they are coping with releasing a major album. The band appears to be very down to earth and that’s perhaps one of their appeals, so with so much to be done it can get very overwhelming.

“Its busy, and there’s alot of people to talk to and things to be doing. I love it, for me the more busy the better, and because we run the label we get to meet everyone at shows and that. I love meeting people that love the band, it means im doing my job and getting it right”

Their debut album Celeste is out in early June.

Twitter: @mytigermytiming 
Web: http://www.mytigermytiming.com/

- Matthew French
@matthewfrench10

 

There is an air of calm when Tom Williams is present. Having just witnessed him play a relaxed acoustic session that appeared more spontaneous than anything else, he is seen to join the crowd at the Kingston Hippodrome where he is about to play the famous New Slang club night.

As the set starts Williams leads from the centre, surrounded by the other five members that make up Tom Williams & The boat, the team boast superior depth, experience and musicianship that make their performance a special, relaxed and intimate affair.

The title to their latest album, “Teenage Blood”, strikes up,  making an energetic impact and quaffs any feeling that the gig is going to be on the quieter side. The crowd are alert, hanging on Williams’ almost spoken lyrics telling stories of heartbreak and despair in a comical fashion. “90mph” follows after the classic “Concentrate” feeding energy into the set, with wistful, static puffs of sax wrapped around an energetic riff. Smiles beat around the members as they rock around the atmospheric, smokey stage.

Tribal thumping drums follow in “Little Bit In Me” under a perfect riff played by Anthony Vicary, lead guitarist and Williams’ right hand man. “Too Young” and “Trouble With The Truth” added a mellow feel to the electrified second half of the set with tidal plucks and riffs embedded around racy drums and vocals. “See My Evil” and “Get Older” finished the set in a honky-tonk manner as the group dance back and forth ending on a defining, classic Williams piece.  

The band show energy, enthusiasm and a passion for what they play and demonstrate a pure art in creating a deep atmosphere. The small crowd hang on to each beat, thump and word and this is reflected in the great interaction between the two. Williams shows confidence and the whole set goes seemingly flawless.  

Set List:
Teenage Blood
My Bones
Concentrate
90mph
Little Bit In Me
Big Wave
Like You
Too Young
Trouble With The Truth
See My Evil
Get Older

-Matthew French 

A big RIP to Adam Yauch, aka, MCA, from the Beastie Boys. We'll for certain, miss you.