Classy mid paced mainstream pop is a fair description of “Unstoppable” by Lizzie and the Yes Men. There are hints of darkness and angst amongst the tidiness however so maybe they might take that walk on the wild side next time. That would undoubtedly make them cool.
Deep and meaningful in that way that only the truly deep an meaningful can be, Unkle Bob mixes up a cocktail of spot the influences and one too many Starbucks lattés to make “Home” into the song it was truly meant to be. To hear is to forget.
“I Always Knew It” is an enthusiastic (British) pastiche of that west coast (of America) psychedelic sound of the late sixties and eminently listenable it is too with the reverbed into the horizontal vocals striking the right note. If you’re going to do the past then do it right. Black Sonic Revolver do it right.
A fine example of the mid paced pop song, “New Low” highlights Ms O’Leary’s unforced and naturalistic vocals although the band deserve credit for sounding like they come from a time when musical ability was actually prized. Nice is the word.
A young band obviously enamoured by the no-fi indie sound, The Alfedoras use youthful energy and attitude to power “Nobody Knows” through its overlong intro to the drop off the cliff ending. Grunge is where it is at.
Two minutes and change and the Girobabies have – once again – headbutted their intended audience with post punk attitude, alienation and a studious approach to regenerating the Scottish indie guitar sound. “Secret Animal”, as you will have gathered by now, hits the mark and that’s for sure.
Although another slice of endearingly sweet and melodic indie pop from Glasgow’s Lost Ghosts. “Summer Nothing” shows more “edge” than their previous songs whilst still remaining cardigan friendly. It is a tried and trusted approach but, nonetheless, I’d like to see this band do well.
Not sure what the intention was here but “80s Wavey” doesn’t exactly show Noah Smith as a particularly inventive musician and appropriating an over familiar sample as his inspiration doesn’t help his case either. In report card terms, he needs to try a bit harder.
Dean Kernoghan is clearly an earnest singer songwriter drawing his inspirations from the great plains of Americana and he actually does a decent job with “Wherever You Go”. However, there are hundreds, probably thousands, just like him so he would do well to consider following the path called individuality for his next song.
Ah, the eternal philosophical question of what drives the boys and girls out on to the dance floor gets addressed by London’s The Young Pinx. “Girls Like Disco Boys Like Bass” is pretty much incessant electro with just enough samples to make it catchy (or maybe just plain annoying if you aren’t out of your face on something). Summer must be coming after all so turn on the boogie lights!
“Back To My Youth” is written, produced, mixed and mastered by Billy Cullum, it says here. Unsurprisingly therefore, the song is dull, derivative and reeks of self-indulgence. Mr Cullum really must learn to play with others.
It would appear that there is more to Swedish music than bouncy electro pop with Leading Edge sounding positively American for the duration of “Never Gonna Change”. The big brash vocals of Anna Johannisson dominate the song but that’s no bad thing really.
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