fourty two: Charlene Soraia

Charlene Soraia has a simply heavenly voice. Having wanted to seriously pursue music since getting a guitar at 7, she has honed her skills at Brit School, home to commercial greats such as Adele.

Bike, a personal favourite, edges its way up to a point with Charlene's vocals and a serene guitar riff before launching into a chorus, accompanied by drums and what sounds like sublime backing synths...or possibly strings? Very soothing.
Another shining example of Charlene's talent is Daffodils, which reportedly reached no. 5 in the US Folk charts on iTunes. Nice! The combination of Charlene's voice and a sleepy guitar becomes reminiscent of a slow morning wake up, drifting in and out of sleep, aware that you've got stuff to do, but not really caring.

Don't think that Soraia isn't afraid of speed though. In tracks such as Lemonade she takes it up a notch and adds a tumbling, stop and start pace to it that ear marks the slightly twee title as something to remember.

Listen to Bike here.

fourty one: Alan Pownall

There's no denying that Alan Pownall is extremely good-looking, but let's just take a break from all that tireseome swooning and consider the oh so wonderful music he makes!

Although on the face of it, Alan may seem to fit into the fashionable, gentile male singer/songwriter persona, he seems to have come out of his shell in months of late.
Earlier this year tracks such as Colourful Day and Heart of Hearts graced his page. Colourful Day was quiet and shy but at the same time had something to say. Lyrics such as "It's rude to point/But attention's what I want/And she told me that I look like David Bowie" really caught the attention and moved you, the listener, with an ease that I still personally find completely addictive.

Heart of Hearts ran in the same vein, Pownall's lyrics retaining a simplistic memorability that seems to be unique to him and him alone. The content seems to be about not quite knowing what's happening around you, there are several questions raised throughout the duration, that act as witticisms, bound to play a smile across your face ("Do you wear those big boots to keep your feet on the ground?"). There's also a certain rhythm to the track that makes it a shoe in for any slow dance you'd like to introduce to a party.

A fair few months ago however, Alan introduced a couple of new songs to listeners. Slide Through The Walls stuck out like a very bolshy, very different thumb. It had an edge to be reckoned with and certainly stands out in any context. Danger and intrigue shine out as Pownall plays and this sustains throughout the whole track. The 'breakdown' towards the end is very effective in raising the song out of its, already high, grounding. Once again the lyrics are strong, but this time calculating and snarling "I was cold, you were shy/You were never one to turn it on".
The second of the more recent songs, The Others, is more comparable to the earlier material. With added violins and what sounds like a record on a turntable, The Others has a crooning, wistful likeability to it that is delicious and relaxing all at the same time.

Listen to Slide Through The Walls here.

fourty: Bark Cat Bark

Bark Cat Bark is an odd name for what Josh Todd is up to. Inspired by greats such as Beirut and Final Fantasy, you'd expect something to do with geography or literature when you hear his music. Mostly instrumental, Josh has made two albums to date, Puzzlewood and Rest In Tale, released on Still Muzik.

Poi in Puzzlewood, the first track from Puzzlewood is a bouncey opening to the album that perks up your ears and spreads a smile of your face, ready for any adversities that may crop up during your day.

Josh Todd's myspace home showcases a few of his tracks. One of these includes Lac Pavin, which Josh personally reccomends in his blog. The song itself is rather mysterious, as if looking for something deep within. The rusticity of Todd's roots really shines through as the strings pick up pace, and a delicate piano whisks across the soundscape. There's also a feeling that you are being lifted up and flown across a vast area of land, as all the components of the music duck and dive into a harmoniously askew form, that will send any listener reeling.

Fallen Star is as presumed, a slow, melodious track. It appears relatively close to the end of Rest In Tale and features a beautiful vocal, like the sumptuously dizzy I Saw A Wolf amongst others.

My reccomendation would be to listen to all of Josh Todd's music, there's a huge diversity in the material, so there's most likely something in there written just for you.

Listen to Lac Pavin here.

thirty nine: Blue Roses

Blue Roses is something truly, truly gorgeous. Like a limbo between Joanna Newsom and a waterfall, Laura Groves (a former solo artist) has morphed her old material into a living, breathing being.
I managed to see Laura Groves at the Night & Day way back when, and despite the fact that on record she melted into the sea of female singer/songwriters, she stood her ground with a vocal range to strike fear into the hearts of rivals and brilliant musicianship on both the guitar and piano.
I loved her music even then (to the point that I'm suprised I didn't blog her earlier), but when I heard her new stuff played at an Emmy The Great gig in November I was flipping head over heels. Accompanied by her friend Diane (I think!) on strings and drums, Laura projected her voice a hundred times more effectively and it was more than obvious she had enthralled a fair few members of the audience.
Blue Roses is now in full swing. Two new tracks were revealed today and they do not disappoint by any measurement. I'm completely at odds as to which one is my favourite!

Does Anyone Love Me Now? flows with a sublime ease and all the elements compliment each other flawlessly. It's also a wonderful treat to the ears to hear Laura's arching and swooping vocals at the heart of the song. Does Anyone Love Me Now? is a track with a secret passion that can only be heard through the sincerity of lyrics such as "I believe in plans/I believe in maps that you drew sitting next to me".

Doubtful Comforts sinks its fingers into your muscles to relax a tense shoulder or two as Laura's voice once again dominates the foreground of the song, pulling you gently into hanging onto her every word. The use of what I think is thumb pianos also gives the impression of time, and that it is simply melting away into the background of your life. This is certainly a song to forget your cares to, mug in hand, eyelids shut.

Listen to Doubtful Comforts here (but please, please for your own good, go and listen to Does Anyone Love Me Now? on the myspace!!).

thirty eight: Paul Dixon

Paul Dixon is currently based in London "via Manchester", so I'm half assuming he's at University right now, correct me if I'm wrong.
Stumbled upon in the process of organising a new project, I instantly took to Dixon's ditties.
The two songs available to stream on his myspace are beautifully crafted and catchier than the cold I have at the moment (back off, seriously).
My personal favourite (and current "walking to college song"), Constellation, is a slow burning love song that builds on the simple beginning that Dixon marks out in the shape of a piano and his distinctive vocals. When the chorus kicks in, a bass drum, handclaps and chopping strings have joined the ensemble to create a melancholy coolness that hangs over your shoulders and may even evoke a sigh or two, the lyrics certainly reflect this idea anyway, "All we face is heartbreak/And all of this will be left".

Second track, The Hill is much more cheery and rather like the title, gets more and more delightful as it progresses, just like a hill gets higher the more you walk...see? And despite a soft opening has the pace to remind us in the dismal Winter what that thing called Summer was like all those months ago. Once again, the subject appears to be a relationship of days gone by, but there's more optimism there as Dixon croons "Why can't we stay together?"

Paul's touring in '09 and I for one am keeping my fingers crossed that he'll be gracing Manchester with his presence.

Listen to Constellation here.

thirty seven: Library Tapes

Somewhere along the road of blog I lost an entry. You won't tell anyone though.

Library Tapes, where have you been all my life? This is the music of David Wenngren, a magical man from Sweden.

His most recent offering to the musical world is A Summer Beneath the Trees. Which breathes deeply and echoes ideas more fully developed than Wenngren has ever hazarded. Songs like The Rivers Turned To Cobblesto sound as if they've grown to fill the shape of a music hall. Melodies heighten and stretch as the song progresses further and further, it's like something from a dream.

Wenngren's music still retains a degree of melancholy present in previous albums Fragment and Feelings For Something Lost. Wenngren's music never becomes wholely major key and thus plays things in slow motion. A look, a smile, a movement all transform into something long passed when played to Library Tapes.

An example of this transformation is Fragment VIII from the album Fragment. The delicate piano repeats itself, giving the track a feeling of continuity as the backgrounded strings meander along to the melodies. The first track on the album, Fragment I (no kidding), also opens the record in this soft, slow format. The album is like a divine, luxurious lullaby.

In a turn of the extraordinary I am seeing Library Tapes with Portico Quartet on the 26th of November, and am anticipating to witness how he turns his music around into the live.

Listen to The Rivers Turned To Cobblesto here.

thirty six: Joose Keskitalo

I can't make any great claims towards trying to decipher what Finnish Joose Keskitalo is singing as he plays his folky, Gainsbourg form of music, but what I do know is that I think I'm in love.


I discovered him on Bird's Lament, a little blog from dreamland, whilst scouting for more from Alessi.

The 26 year oldsinger/songwriter has already got a loyal fanbase in his homeland, having been releasing material since 2004.

His most recent album Ja Kolmas Maailmanpalo (Third World's Fire) was released this year on Helmi Levyt records, and has thankfully been made internationally available.

Riivaajat is a dusty, wandering song that reminds of the back streets of Paris. It was also the first track I had the pleasure of hearing on Ja Kolmas... after the marching opening of Nelja Hevosta Ja Hautajaissaattue, that could up the campaign of any rebellious protestors. Keskitalo then takes it down a notch in the shape of Mennaan Ajelulle, a slumbering song that settles into your muscles and pulls you slowly down into your comfortable bed for a well-deserved sleep.

Another song that I absolutely love is Pispalan Tytto. It comes from a collaborative album called Lauluja suuren mäen alta (Great Songs, Over the Hill) choc a bloc full of rustic acousticness.

Overall I think the most appealing thing to me about Keskitalo is the sense of other-worldliness I feel when I listen to him. It feels like a new way of life, that can be a little bit backward at times.

Listen to Riivaajat here.

thirty five: Choir of Young Believers

Choir of Young Believers is the collaborative efforts of Jannis Noya Makrigiannis, Anders Rhedin, Jakob Milung, Cæcilie Trier, Lasse Herbst, Casper Henning Hansen, Bo Rande, Mette Sand Hersoug and Nicolai Kleinerman, and yes from those names I'd hope you would realise we're talking overseas here. Copenhagen, Denmark to be exact! But if we're being picky, COYB is actually Jannis Noya Makrigiannis, also part of Lake Placid.

I was originally drawn to the band when I saw them on a Chess Club flyer with Mechanical Bride and One Little Plane, I knew two of them were great, so why not add a third to that mix? COYB are pretty darn good if I'm honest. Think Fleet Foxes, Band of Horses and The National.

The first song I heard was Claustrophobia, the track that incidentally reminds me most of Band of Horses. As Jannis begins to sing "You give me claustrophobia" in an oddly timed fashion, there are waves of instruments behind him as he continues on into falsetto land. It's the first of many layered songs you are due to hear.

Elsewhere there's twinklers like ActionReaction that have the summer sheen of Fleet Foxes and gorgeous, refined choruses that resound through the air. It's like a breath of fresh air for the ears. No, really.

The thing I really like about Choir of Young Believers is the sheer variety of their music. For instance, one second it's a song like ActionReaction that dips your feet in sunshine and the next it's We Talk On The Phone, a track that really highlights the vocal talent COYB has in its ranks. We Talk On The Phone slowly moves along accompanied by a tambourine and wind instruments, creating a very natural atmosphere in the song. All this comes in lapping waves of sound before the track dips into dormancy and then surges up into a final chorus that repeats the song title simplistically.

We Talk On The Phone is a track from COYB's outstanding 2007 EP Burn The Flag. This EP includes the storming Sharpen Your Knives, which can be compared to ActionReaction in vocal stylings as Jannis and co. sing "Sharpen you knives/The fear in your fire!", and all the while there's the slam of drums peppered with outcrops of vocals haunting the listener from its depths.

Jannis offered his first LP this year in the shape of ten track, This is for The Whites of Your Eyes. Not only an imaginative title but also a critically acclaimed album. Aforementioned Claustrophobia and ActionReaction are included in the listing, aswell as single Next Summer, a song for the forlorn lover in anybody. And once again, Jannis has produced a fantastic soundscape that stirs mountains and soars across lakes with the sheer capacity of the collective instruments.
Let your ears breathe.

Listen to ActionReaction here.

thirty four: Cherbourg

Cherbourg are the reborn ashes of Davie Fiddle and the Lucky Egg. Originally I was sorely dissapointed at this very sudden news that T'Egg were gone.

But then I heard Horses.

I never imagined it would sound so. good. (Not that I was expecting something dreadful!)

At first there's an expectation for a Davie-esque vocal from Andrew Davie...but no. This time it's a slap in face cry of a vocal that makes your head spin round. There's so much strength, with each line more and more elements come out of the woodwork, not to mention the matured lyrics with a kick of imagination.

This obviously heightened my expectations for last Wednesday when I saw the reborn quartet live for the first time. And they did not dissapoint.

Along with Horses there was a myriad of similar songs, all with a unique quality of their own. For one Kevin Jones donned a drum, alerting my neural percussion system (yes, such a thing exists). I love drums, and with this added percussion I was sunk even deeper into my infatuation.

They've still managed to retain a degree of what they once were, there's still heartfelt lyrics here and there, and the boys' lovely personalities still shine through. Speaking to Andrew after the show it's hard to believe it's him behind the vocals of Horses "You've lost your only friend/You're not gonna see him again", because he's just so damn nice.

Cherbourg are planning to release on EP in early '09.

Listen to Horses here.

thirty three: Golden Silvers

Granted you've probably heard of Golden Silvers many times before, but just let me rant with a wry smile fixated on your lips...
I'd heard their name peppered around the internet and amongst the "NEWBANDOMG!" pages of magazines for many a month, thinking it was just another of those noisy techy bands we're now plagued with after last years' happenings, sighing and shaking my head all the while.
Oh the vanity.
When I finally decided to settle the issue, the first song I heard was obviously Y&LC relased single Arrows Of Eros. I was in love. Not only did it have some heavy synths within seconds of beginning but following this was Gwylim Gold's distinctive North London vocals, and yes, his second name really is Gold. Lucky bastard.

I have my fingers firmly crossed in the vain hope that all the support slots (Crystal Castles etc) they've been having recently won't lead to an influx of fans who still believe that raves exist.
They're supporting Mystery Jets on their October/November tour and released new single Magic Touch last Monday (20th) on a 7" purple vinyl. Fancy! And to add to all the metallic luvin' these boys have got it'll be out on their very own Bronze Records.

Listen to the magnificient Arrows of Eros here.

thirty two: La Shark

La Shark are the guys who make up Josh Weller's fantastic live band. This project is a whole new kettle of fish however.
The fact the five boys only have one track up hasn't stopped them from cropping up a fair few times on the blogosphere, but I haven't managed to uproot anything new on the Londonian band.
The solitary track available for streaming on their myspace, Bones, is incredible enough to make up for three or four more.
It bangs away at the drums until it's forced itself into the thisongisstuckinmyhead gland at the front of your brain, in an oddly reggae-esque way. And...the lyrics are psychic I promise, soon you'll be thinking "I can't get you out my bones/I don't know what to do!" about this very song, which is exactly what Sam Deschamps yowls, in what must be one of the catchiest choruses I've heard all year, there's also the infectious truth "I'm a skeleton!/I'm a skeleton!", that's just too damn quirky not to love.
For anyone who wants to do some detective work on these shady lads, head over to one of the many gigs in London they've got in the pipeline. I will definitely be keeping an ear out for my next sharked up fix. Nobody seems to know a thing, and I'm intrigued...

Listen and become addicted to Bones here.

thirty one: Charlot Webster

Charlot Webster is a list writer. In her band she does vocals, piano/keyboard, chord organ, mini piano accordion, ukulele, saxophone, spoons, handclaps and thigh slaps. Her band members are called David, Lindsey and Kevin.
Based in Brighton, Charlot has cosied up to fellow coast dwellers Peggy Sue, who could be considered genre mates as well.
Her voice has a warmth to it that sends you reeling back to thoughts of a war time songstress, particularly noteable on the serene Before your Love, that delicately tugs at your heart strings with strings of its own and Webster's cooing birdsong. The track wraps itself around your body and cradles you into a slumber, I'm not really sure how I've managed to resist the call of sleep so far, but this song will most likely be coming to a lullaby playlist near you.
You can hear the variety of Charlot's range in vocals on The Fire. A heated song that grows in confidence until it shouts its lungs out with "Oh-hos" and then furls back into submission.
Her music also echoes influences from Aretha Franklin and Cat Power. The trumpeteering Promised Me Gold sways beneath the atmosphere of Charlot's sultry voice with an unforgiving beauty that advises you not to cross her dark side.
Charlot Webster is dreamboat and she's waiting for you.

Listen to Before your Love here.

thirty: Gossamer Albatross

I noticed the other week that a fraction of my clothes have a recurring theme.
Birds.
I love birds (I do not classify pigeons as birds) when they're not biting my five year old fingers when all I was trying to do was feed them (that's you Mr Goose at Chorlton water Park). And it saddens me that the number of them is declining, big seabirds like the Albatross especially...


Gossamer Albatross are a dazzling quartet from Hereford. All four members are still in their teenage years unbelievably, three of them being classically trained. Puts my skills up to now to shame unfortunately.
They come across as extremely likeable and friendly, and their music swings and arches with precision and skill way beyond their years.
Their brand new, two-track single The Ground Will Take Us Down will be released soon on Bailiwick records (soon to be home to a Pengilly's EP!!) and was produced by none other than Hugo Manuel. GA have given The Ground Will Take Us Down a wonderful pace, that demands anticipation for the moment when Lewis' vocals (not disimilar to Zach Condon's) will reveal themselves at the beginning. From then on it writhes and wriggles through Geena, Reuben and Sam's giddy strings, as if it were an uncontrollable tide. All the while Lewis declares "This time it's different!/I'll make sure of that!" in a hand on heart exclamation, bound to send you flipping head over heels for this music...if you haven't already.
B-side Elizabeth, Queen of the Sea is more subdued. It takes a hold of your heart and leads it through the motions of the song, the slow beginning, the slumbering "A-aahs" and then onto the steady ascension of the track about two thirds of the way through. I particularly like the line "Down and down/The Ship went down...", in fact, I love all the lyrics to this song, it's sublime and enthralling. I've always had a soft spot for all things nautical, and this is no exception.
Gossamer Albatross released a debut EP earlier on in the year, when I first heard of them through fanzine Time For Heroes.
First track, Whispered Thoughts is anything but whispered. Lewis' voice takes on a very rich texture as he winds through the dipping lyrics "We walked home underneath the starry sky...And shattered into 1000 different pieces".
Raging Bulls, is a galloping feat of imagination that snaps at your heels through chopping strings and dangerous lyrics "Pack up your bags/Take to the cold, wet streets!".
Final track, Lake Laiture is nothing but an adventure. It's extremely reminiscent of Beirut, an opinion that GA must be getting used to..surely? I can also imagine travelling to this music too, which is always a good thing. My travelling music is the stuff that I'm praying won't become the victim of low battery because it's so. damn. good.
GA have a tour lined up for late October to take TGWTUD out on the road (24th @ Manchester Kro Bar) which will be wonderful, I'm sure.

Pre-order The Ground Will Take Us Down here.
Listen to Elizabeth, Queen of the Sea here.

twenty nine: Rupert & The Robbers

I did a post on Lisa Mitchell which seems to have disappeared...Not good. I might re-do it in a bit.
Anyway, In The City this year was pretty great. Not one low...except being momentarily stranded in Piccadilly (big thanks to Charlotte for ultimately rescuing me).


Rupert & The Robbers were one of the bands I managed to catch for £free, at the slightly disorientating time of 12:30pm (I went during my lunch break, how cool). They're instantly catchy from the words ready, steady, go.
Hats consists of lively guitar riffs reminiscent of Good Shoes and vocals not disimilar to Hot Club. There's a point in all of their tracks that sticks in your head. For Hats it has to be the line "...the value of the house went down, down, down!" before the boys (Rupert, Ivor, Laur and Joe) launch into a storming troop of Aaahs. The guitars and drums then go on to tumble down, down, down in a suprisingly melodic and "danceable" manner.
Rupert told us on Monday that Bad Hour was about those bad days we all have. This song would certainly improve any bad day of mine, it's unreasonable to say it wouldn't! The guitars and vocals are so damn catchy, it's a wonder the song hasn't become an epidemic along with this terrible cold we've all been having recently.
Ringing Chambers cavorts around your head like a litter of puppies, with cleverly entertaining lyrics, delivered with staggered precision, just in case you aren't paying enough attention "Shooting people with my bb gun/Outside the corner shop".

Listen to Ringing Chambers here.

twenty eight: Barn Owl

In The City is finally here, and despite the fact the line-up isn't as good as last year's, I've still got some pretty good finds out of it (yes, I went through the list and listened to the bands that caught my eye...).


Barn Owl was a name which made me click (I like owls y'see) on their link. The quintet are based in, University prospect for moi, Glasgow and describe their music as "Children", saying it sounds like "...". Very insightful. Bear with me.
Their Scottish-ness comes through in their vocals, which have that homely Scottish twang to them. Songs vary from jumpy, hand-clapping When No One Is Around, to crashing Light Through Spaces.
When No One Is Around stomps its way through the beginning before whispering vocals reveal themselves with bleeping guitar chords and the occasional, endearing handclap. The remainder of the track swings dream-like between the speeding instruments and ear-enticing vocals.
The element of fantasy and solitude is also recogniseable in Tara Key (a live track from their myspace). The guitars chords melt languidly over some heated drumming. The only way to listen to songs like this is with your eyes closed...until it gets to the immense blow to the stomach about 4 minutes in, so keep one eye open...just in case...
Chasing Little Sparks has a darker quality to it, sauntering itself into husky vocals and even more nonchalant guitars.
Barn Owl will be playing In The City on the 6th of October at 7:15 at Chicago Rocks.
Listen to When No One Is Around here.

twenty seven: Posy Simmonds

I feel I should apologise to the few of you who read/like to laugh at this blog for my long...almost month long...absence. I've been un-motivated and haven't had much internet time etc. Hello again though.


Posy Simmonds, a Kingston-upon-Thames resident started off with a taste for acappella and "amateur beatboxing". Which I have absolutely no problem with. I love accapella bands (think Hot Club de Paris kids). But his more recent songs have morphed into something beautiful.
The opening minute of All My Everything is sublime, featuring echoing choiral skills, more commonly found in a Cathedrale. It then goes onto incorporate a french horn, drums, guitar and eventually his vocal talents, which wrap themselves around the instrumental pieces beautifully, bringing the whole track together, "The fire burnt out long ago/Just an ember on my heart", it has a very "if only" feel to it.
Blossom is one of the aforementioned acappella aces. I'm trying not to compare the vocal stylings to those of Jack Penate, but it's hard. The chorus wouldn't stick out by a mile in an album of Penate's...not that this is a bad thing, I just don't want to get into any misjudged comparisons. Acappella is a very catchy genre and this is also true for Over The Road, a more pumped up form of Posy's roots. The lyrics are equally charming "What a very nice old day he said/I might go and eat some snails".
Another of the more "mature" tracks, Bark is a favourite of mine. Simmonds slowly builds the instruments up, as if the song is pulling itself out of bed into a dim morning, so dim the milkman hasn't even been yet. As the french horn stirs in the background of the song, it's reminiscent of that longing look back at your bed you may take every morning.
I'm very glad I stumbled across this guy.

Listen to All My Everything here.

twenty six: Kocani Orkestar

Kocani Orkestar have more Eastern European-ness than you can shake a stick at. And the bosum buddies to Beirut have got the heart, soul and mind to power to force you into a dancing frenzy.
Writhing trumpets, slippy-sliddy accordions and leg-shaking beats are plastered all over songs like Maxutu, it's almost too "German market band" to handle. Kocani Orkestar has also got some major precision on their side.
Popular songs like Siki Siki Baba, weave between mounting French horns and lung-draining choruses. It was also featured on Borat. And you thought you wouldn't learn anything today.
If I said to you that you had to shoot a scene of a young boy running through the back streets of a village, the accompanying music you'd pick would be Kocani Orkestar, mark my words.
The Macedonian band's second album (L'Orient Est Rouge) packs such punches as title track L'Orient Est Rouge, a track full of joviality and energy, with an equally enticing title, I think you'll agree.
Their new album (The Ravished Bride) is out this month, with even more energetic and diverse sounds within it's gigabites. Sokeres has a slightly comical air about it. As if it should feature on a Peter Seller's Pink Panther film. It has that atmosphere that echoes that of a rather haphazard chase scene.

Listen to Siki, Siki Baba here.

twenty five: Your Friends Are Architects

Architecture. It's an amazing thing, isn't it? Personally I'm not a huge fan of all the glass I'm seeing everywhere right now, but I guess it's going some way towards the environment and all that jazz.


Your Friends Are Architects are a four piece just waiting to become the next big speedsters out there in musicland. They descibe themselves as Disco house/Post Punk and take key elements of both these genres to create a relentless powerhouse of songs that never bores your ears of sounds to be heard here, there and everywhere.
This is easily audible in songs like Figure (their latest single, released in April), which pounds in with jungle-esque drums and a chant of "We have no information!". It only goes up and up from there on in, slowing the pace at intervals and then snapping back into chants and cowbells.
StopStart jumps straight in and may cause an unsuspecting listener to have a heart attack, or maybe two if you account for the sheer catchiness of it, which grabs your dancin' feet and shakes them 'til they're ready to drop off
Their influences include Tokyo Police Club, Foals and The Rapture, an excellent combination in my opinion. They clearly wear these choices on their sleeves during the writing process (without it becoming plagiarism), and whether it's the choruses of TPC, or the echoing guitars of Foals (notable on Vincent, watch out for those handclaps!) or the yelping vocals of The Rapture, all of this band's tracks have become a fine art.
So, much like architecture, Thom, Matt, Max and Rob have made some excellent foundations and are only beginning what might be seen as a metaphorical building of a career, which will continue to rise floor by floor, because with formulas like these, you can't go wrong.

Listen to Vincent here.

twenty four: Sarah Jaffe

Do any of you sometimes go on appearances..? I did this one time, 'cos I love this girl's glasses...


Sarah Jaffe is an outstanding 22 year old from Texas. Her music is lingering and leaves you deeply affected. Jaffe manages to create unique material that hosts her distinctive vocal ability brilliantly.
She recently made a little escapade to Wireless Festival, and in between the rain and an Emma Watson sighting, Sarah played a wonderful set.
Personally, what most struck me about Sarah was how human she seems. The songs incorporate alot of mixed emotion and differ immensely in some cases, some drift along beautifully and there are others that bear their teeth and pound the pavement 'til it breaks.
Her debut EP Even Born Again has just been released through Summer Break, receiving praise from many a listener, which isn't suprising.
The title track to the EP, Even Born Again progresses with a determined air that powers through the instruments and forces the listener into thinking of better times ahead, as if your conciousness and outlook on life is indeed being "born again".
Second track, Black Hoax Lie is a slow, heartbreaking song, with lyrics that I'm sure anyone could relate to, "Wherever you left me/That's where my heart still lies". However, it's a song that has a hint of hope to it "When you're on your way to the bottom/At least you know where you're going", which is an all too true truth in my opinion.
One of Sarah's most defensive songs Under also features as track numero four. It fires up, all strings blazing, as Jaffe sings "Ain't nobody's girl/Ain't nobody's man", and eventually picks up the tumbling plucks of violin strings with a no nonsense atmosphere. Boys, watch out...
You can buy the EP from here.
And listen to Under here.

twenty three: Educated Animals

I got my AS level results back recently (I got ABBB for the more curious kids out there). I am unfortunately returning to education in early September to complete the second leg of college before I up and out to some far away city...probably. Part of me can't wait to go, but the other is rooting itself firmly in Manchester's pavements and tarmac. I'll always know where my home is, eh? Education is something we'd associate with the human race. But what if we educated animals...? One band seem to have a delightfully melodic answer...

Educated Animals are a charming four piece from Brighton who are, it's said, are at their best live. This is hard to believe seeing as their recorded material is already astounding enough by itself. I last listened to EA at some point in 2007, when they were at a point where it was all about atmospheric soundscapes and soaring vocals. Now as I return to listen, a new song Time Bomb opens with a striking "Oh my god/I'm sitting on top of" before launching into an attack of every instrument in reach. There's a fire engine esque guitar riff, then pound of drums, which is all accompanied by buzzing synths, packed in harmoniously amongst Jon Purchase's yelping vocals.
Ever So Close is, err, closer to EA as I know them, big choruses, echoing guitars and tumbling drums. It's all so passionately heartfelt, with a big hint of gusto.
When they played a recent Birds Need Trees gig in Manchester, they were said to have "some ridiculously good tunes...boosting the energy levels of everyone present". I am yet to have the pleasure of seeing them, but I cannot wait for the oppurtunity to show itself!
The aforementioned Tme Bomb was also played on the opening titles of Channel 4's soap Hollyoaks who seem to have some whizz kid in charge of their music department.
Listen to Time Bomb here.

twenty one: Portico Quartet

So as September draws closer, so does the ominous certainty of there being a Nationwide Mercury Music Prize barfathon. I have to say it is one of those ceremonies that I love to bitch about. The judges, the presenters and the eventual winners are 9 times out of 10 complete and utter ?@!!. I will leave you without my opinions...for now. Who knows, maybe this year will prove different. They've certainly managed to pick a good "virtually unknown" artist this year.

Portico Quartet are a brilliant instrumental quartet, as their name would suggest. As seems to be the way, they are from London, and play a beautifully sombre form of music with certain instruments as mysterious as their name. The Hang, as it has been christened, is a very recent instrument only developed in 2000 in Switzerland. Think of an inverted steel pan and you'll sort of be there.
PQ's mixture of the hang, a saxophone, a double bass, a glockenspiel, a marimba and drums gives their songs a very unique sound, and as you'd probably assume this gives them aeons of room to explore their vast boundaries (if there are any...). In tracks like News From Verona the saxophone dominates the track for the majority but then it also wanes into silence in parts, letting the double bass and hang strengthen, later returning to build the track up to a climax.
Their album Knee Deep In The North Sea is worth its weight and more in gold and is a beacon for the more contemporary side of Jazz, it certainly is a sad thing when any genre of music is thought of as a guilty pleasure.
Another strong song on the album is Monsoon: Top To Bottom. It begins delicately as if describing leaves falling in autumn and then snaps back into a hand clapping, squeaky speeder. It also gets you wondering if the sax player (Jack Wyllie) could possibly play with any more agility without hurting himself.
My definite favourite on the record Cittagazze reaches weaving and writhing highs and then slams down on the pedal, powering forward into a rich and vibrant atmosphere of vitality that really separates these boys from the rabble.
Only time will tell if those judges will be able to see past their hard-ons for Radiohead and recognise Portico Quartet's undeniable genius. They really are something else and everything inbetween.
Listen to News From Verona here.

twenty: Chew Lips

So, I've just put the kettle on in anticipation of droopy eyelids (I'm making the most of an empty house y'see). And as always I've got some massif, kick-ass beats happenin' on my pumpin' woofers*.

This evening...or morning, it's a fabulous new discovery Chew Lips, a lo-fi tech trio from London with a myspace page still under the year benchmark.
Tigs, Will and James create illustrious synth soundscapes, audible in songs such as Eight, which has Tigs crooning away equally beautiful lyrics ("A highspeed chase on a wedding day/Give and take are all the same") which magically conjure wizard imagery in your mind as the song progresses to a stadium-esque guitar riff that the greats would envy.
The appeal of the band hasn't been missed by the ever ahead of the game Steve Lamacq, who was recently heard championing Solo on his Radio One show (listen from here), and rightly so. Tigs' voice sounds golden in the 3 minute slice of blippy bleepy glory, echoing Karen O's vocal stylings in some areas.
The threesome are kicking about London this September so take my word and go have a looksee.
Listen to my personal favourite Eight here.

* I don't really have woofers...

nineteen: Wildbirds And Peacedrums

Wow it's been a while. You probably think I've been trotting the globe off, eh?
Well in that case you're wrong. wrong. wrong. This far in my summer I have been sat on my arse watching some of the best athletes in the world fulfilling their dreams whilst my 12 year old sister shouts at the TV, "Run faster!". Those coaches don't know what they're up against.
I've really been hankering to spread my wings and get off to the coast, or to a buzzing city that isn't Manchester, preferably abroad.
This idea takes me to Sweden. Home to Wildbirds And Peacedrums, a stonking girl/boy, two-piece that are gonna blow all other minimalists out of the water.
The members Andreas Wallentin and Mariam Wallentin are a married couple who met at Gothenburg's Academy of Music and Drama in 2004. They share a love for that stripped down sound that they seem to master so easily.
Mariam's vocal power and capacity gives them a razor-sharp edge that can vary from songs such as The Way Things Go, which just pound through your eardrums at a cataclismic speed, to the softer side of the blade in songs like, personal favourite, The Battle In Water.
Their debut album Heartcore has already received glittering reviews in The Guardian and Pitchfork Magazine, surefire proof that they've got what it takes to send it up to the bigtime.
The duet rely on the combination of silence left by simple rhythms and Mariam's revved-up singing to support the songs, and boy do they ever. Andreas also believes there's a certain element of imagination that can be used in those silences. Hear what you like basically.
This becomes evident in songs like I Can't Tell In His Eyes, a shattering love song that arches up to a brilliant, opera-esque climax with a fantastic, wholesome atmosphere.
The two components of Andreas and Mariam go together like a horse and carriage. They both benefit equally from each other. Some of the cacophanies that come from Andreas' percussion could be shunted straight into the dreaded "experimental" file, and Mariam could easily tumble into the ever-increasing abyss of female singer-songwriters.
They're on tour in the UK in September, Manchester's the 8th of September at The Deaf Institute.
Listen to I Can't Tell In His Eyes here.

eighteen: Jose Vanders

Ahh money.
Money, money, money. Money brings me some serious joy and some real distresses. One of the distresses of late is that I have about £30 to get me through to September.
Thus not letting me see the sublime Jose Vanders in Leeds. I was supremely annoyed. Not only because I have cabin fever like nothing else but also because she has to be one of my favourite discoveries of 2007.
Jose Vanders has a vast fanbase as I write this and certainly doesn't need a leg up (she's just reached the 1m play mark on myspace!).
She has the musical stylings of someone ten years older than her and can play the piano like a pro, a quality than shines through in her songs.
One of the things I love about Jose is her modesty, besides her mind blowing talent, she is an ordinary young lady and is one of those artists who could just stop at home recordings and they'd be golden. But Jose goes that extra step further and makes "proper" studio EPs, and yet there are no great claims with her.
Her debut EP Transactional Language was, and is, a seven track beaut of a CD, brimming with carefully crafted songs that speak of love, painters and "sitting on the M25". I'd say it was simple, but that's unjust, as are the comparisons to Kate Nash. The truth is Transactional Language is flawless, it's observational, it's a classic in miniature. A Little Love Song is exactly what it says on the tin, it's delicious and uplifting and makes you pine for someone to call your own (if you haven't snagged them already).
The next installment in Jose's discography, Red Black Blue & The Tortoise, has just been unleashed onto the tinternet and has already received warmly by her fans (buy it now from her shop!). The second EP includes one of my favourite songs by Jose, Madame Lenormand, which is about a fortune teller, sounds brilliant already, eh? On her first demo of the song, there was some very humble talk of a Comet mic ruining certain parts of the song, which is more than made up for in Jose's lyrics "You'll find love/Underneath a stone/Pick it up and keep it in your pocket/You'll see bars/The finest bars of steel/Encircle you on one December morning" and the gorgeous piano melodies that wrap themselves around your mind and reel you into listening it again and again. The freshly recorded version is even more beautiful, if that's even possible!
Her demos are gems in their own right, Fin's Song and Hitchin is Bitchin are personal favourites of mine and are as warm as cocoa and bright as a 100 watt bulb, despite their sometimes heart-breaking lyrics.
To conclude: Jose Vanders is a girl choc a bloc with promise. She's already delivered high quality songs and seems to be set to carry on the path of musical success.

Listen to a fantastic demo of Madame Lenormand here.

seventeen: Melodica, Melody and Me

Just a quick question: Does anyone know where to buy melodicas? Besides the net..?


Melodica, Melody & Me are the latest band to make me wish my socks off that I owned a melodica...Only this time I'm wishing a bagazillion times more. Yes, a bagazillion.
I first got wind of them from seeing them about on other artists' top myspace friends and then getting a friend request later on (don't judge). I didn't pay attention if I'm honest and I later paid the high price when I actually heard them live.
Melodica, Melody & Me are addictive. Live, they are charming and down to earth and with some members still tied down by University, they're obviously driven to getting their "sound" out there. The whole band get in the swing of things when they play live. The unique dancing that takes place has been described as "pikey". Hope that helps paint the picture...
The six London dwellers are currently awaiting a handful of British festival appearances (Bestival, Solfest) and have already performed at Camp Bestival, earlier this year in July.
They've also made a massive impact on audiences and the press, with appearances in Volume Magazine (read here), Clash Magazine's blog and on Tuckshop podcast.And rightly so, they are loveable and remind of lazy, bbq summers spent with friends.
All members of the band are vital to the songs (although Anna was a late, but intelligent addition to the squad), which are romantic, fun and rootsy. Their freshest song Plunge, has lyrics that tumble out of singer Huw's mouth, accompanied with a two steps forward, one step back (just a sound association thing, not a technical term!) melodica tune and piano melodies that arrive at the last minute to bring a wholesome vibe to the track. And, it has to be noted that MM&M are another band whose music benefits from a handy doubling over of vocals.
Remember When has been described as slightly melancholy, its lyrics certainly aren't the most hearty in the world, "Such happy times/Wish I was back there again". But it is definitely a brilliantly catchy song!
The more cheery Piece Me Back Together is a surefire riverside singalong equipped with call and response lines that'll get you reflecting along to those trundly drumbeats no end.
If you're up North like me, they've got a date in Leeds on the 3rd of October which I'm definitely looking to make.
Listen to Piece Me Back Together here.

sixteen: Jamie & The Lionhearts

I recently finished an extremely frustrating book called The Sea, The Sea by a Ms. Iris Murdoch that actually had me casting it aside with pure annoyance at times. The story involves a cynical playwright Charles Arrowby and his, more than reluctant, old flame Mary Hartley Smith.
If only their relationship had been half as exciting as Jamie And The Lionhearts' song Old Flame then I might've enjoyed the book more. In fact, exciting doesn't do JATL's toe-tapping, jaunty music justice in my opinion. The four boys from the South are utterly infectious, and though their music may remind of some trilby-wearing, acoustic guitar-whielding bands who're around at the moment, I assure you these kids are better.
Normandy is a hand on heart, shout your lungs out belter, see if you can resist joining in with that chorus "She's going to Normandy/And she leaves by nine".
Going back to Old Flame, this song see saws between a trundling, violin-ed up verse and an arching chorus, packed full of cymbals and bass, and once again those genius lyrics catch your ears and effortlessly reel them in.
Jamie And The Lionhearts seem to have definitely found their feet on the stage aswell, with heaps of experience (bills include Operator Please and Lightspeed Champion), they come across well and always make a great impression!
They've got a few live dates here and there in August, so look out!
Listen to Normandy here.

fifteen: Picture Books In Winter

There are magazines I can love, magazines I can take and magazines I'd rather became footprints on the arse of journalism. I won't go into the latter because it isn't particularly relevant, but as for the first, the Welsh mega love of my life is Kruger. It has brought me some great artists and bands who have later shot to fame and has only once dissapointed me. The makers definitely know a thing or two about their local lovlies too, watch this space for this Cardiff-based quintet.


Picture Books In Winter are an all guns blazing band that charge into your ears choc a bloc with an array of musical instruments. I was initially pulled in by their seemingly gentle name. Picture Books In Winter is apparently a last minute flick through and steal for a demo CD, and despite the fact they incorporate string instruments into their songs, their music is no cuddle, though they do accept the folky tags that they are given.
The elements that seperate them from the folky rabble is the patriotic shouting and just how well the disco-esque drums and speedy guitar playing mesh together with the strings, see songs such as 100 Percent Polyester for proof. Their lyrics seem slightly off the wall and don't make sense at first listen and their songs certainly have some original subjects. Horiziontally I Am Champion is about the fallen from grace Blue Peter presenter Richard Bacon and once you know this, the lyrics like "I will build a raft/I've always had a talent for arts and crafts...Out of cheesewire/Out of pipe cleaners and paper mache" and "I've not yet missed a show" make perfect sense, the song even name drops Konnie Huq, another former Blue Peter presenter. It is a pretty genius, spot on song.
Live, they've been described as unique and sensational and were a big hit at Glastonbury where they played on the BBC introducing stage. They're obviously an act to see if you can! I'm certainly jumping out of my seat to do so.

Listen to Horizontally I Am Champion here.

fourteen: Lanterns On The Lake

As far as festivals go this year I haven't got anything planned. Well, unless I count In The City. Based in Manchester bars and clubs, it brings the best in new music to the City Centre and alot of the time entry is £free! Last year I was feeling pretty lazy so I only saw about 5 acts over the weekend, some intentional, others unintentional.

One of the unintentionals was Lanterns On The Lake who played at the slightly tedious Bedlam alongside Jay Jay Pistolet, Jose Vanders and Tom Williams. The six piece band from Newcastle-upon-Tyne have mastered an eerily deep form of ambient music that pinpoints your heart flawlessly and shoots arrows of songs straight to your centre.
Lyricist and vocalist (amongst other components) Hazel Wilde has an incandescent voice that is paired simplistically with mandolins, glockenspiels, pianos and even a bowed guitar.
Their music is influenced by such greats as Sigur Ros and Arcade Fire and it shows. Due to their subtle use of some synths and keyboards each of the tracks has a haunting background atmosphere which is then taken over by the foregrounding of the other cacophony of instruments, deepening their whole repetoire beautifully, it's like the metaphor "still waters run deep", it may sound simple on first listen but as you press the skip back button more and more other instruments reveal themselves until you finally have them in their sublime entirity.
Lanterns On The Lake are a very original band, and thinking back they obviously put on an infectious live show, as I was determined to remember their name and find out more afterwards.
They have an EP out towards the end of July entitled "The Starlight EP" which consists of four songs. In Starlight is a dreamy slice of glocked up gorgeousness likely to make a fair few of you fall head over heels with anyone who may be there listening with you. First track My Shield spirals and cradles you away into the deepest depths of your heart and is definitely a sleep song for anyone who wants one.

Listen to Under Stars here.

thirteen: Jesse Quin & The Mets

Yesterday I went to see Batman. It was epic to say the least. There was just so much depth to it and all the graphics were obviously nothing but amazing. Despite it being a bum-aching 3 hours long, I thoroughly enjoyed it and would go back again and again.


Besides the two points about the graphics and the duration I could probably link Batman's epicness and depth to Jesse Quin & The Mets, a delightful band from London who are ready to steal your soul and return it replenished and intact. And okay, you can't quite compare a band who have "poorly laptop problems" to one of the sleekest blockbusters ever but it's my analogy and I'll do what I want with it.
The band are led by Jesse Quin, and The Mets consists of another eight fantastically talented musicians. They've all been hidden away under an enormous rock for the past few months getting some songs recorded and my my they've done a great job.
Always Catching Up is the newest bright eyed, bushy tailed song to venture out onto their myspace page. It's a spontaeneous song that's bound to push you over the edge in those "Should I? Shouldn't I?" decisions (in the right direction of course), it'll definitely get you out into the big, wide world too, it sparks images of journeying across vast expanses of land to those you love...even if they're only in the next room.
Quin scribes heartfelt lyrics, obvious in Sirens In The City, a christmas carol with a kick of seasonal heartbreak. It's lyrics like "My hand dropped against my side when I heard you were still alive/I didn't hear the Queen didn't notice when the relatives arrived" that remind of the real life relationships and the old traditions we all have in winter. After a gentle beginning, the track steps up with handclaps and footstomps, creating an intensity hard to find elsewhere.
However, if you're looking for uplifting, show-stopping songs, listen to More To Life. The end in particular is hopeful beyond imagination and it's hard not to get a tear in your eye. Since I haven't seen them live yet, I am going to assume they are epic, just like any Hollywood film reel.
Oh, and actually, to go back to those graphics, the band themselves are very good looking.

Listen to Sirens In The City here.
And watch the inspiring More To Life live here.

twelve: Mechanical Bride

If you're a fellow Mancunian you'll know all about Vinyl Exchange. It's one of those wizard shops where you can take in those embarassing CD/VHS/DVD/Vinyls you no longer want and come out with a brand spanking new copy of pretty much anything. And it's all pretty goddamn cheap if you're using money too!


Today I bought a promo copy of Mechanical Bride's new Black Skeleton Sea EP, the sublime follow-up to her In The Throes EP and cover of Rhianna's Umbrella, after seeing it in there last week. Predictably it was still in the smaller branch this afternoon, as the type of people who go in there aren't the type to listen to Lauren Doss' delicate music (not that I'm generalising), think more New Order and Joy Division. I don't quite understand how more people haven't heard of her though, Lauren has been making music for a number of years now and has also been signed to Transgressive since 2006 at the least. How curious the world is.
Doss has gone from strength to strength and her most recent release is a tumbling, rolling and turning three song masterpiece. The Final is imaginably the last track on the EP and leaves the starting block tenderly and eases itself into a symphony of violins and piano bars, accompanied by Doss' pure vocals that are then strengthened even more so by a male voice that creates an almost fragile atmosphere around the song.
Seaworld is the first track and sets the tone perfectly. The glockenspiel becomes a simple underpinning to the song, joined by cristalline humming and oo-ing and a repeated, reoccuring "We find worlds inside", and the tragic violin melody holds your attention seamlessly. It's a heart-breaking EP.
A favourite song of mine by Mechanical Bride is definitely Poor Boy (from In The Throes), in which Doss' voice is pushed high above the rooftops and then gracefully falls to the ground once again. Her lyrical ability is fantastic too, another element that shines through in Poor Boy.

There aren't any shows on the horizon unfortunately, but Lauren has had the pleasure of performing with acts such as Bat For Lashes and Johnny Flynn.
Listen to Poor Boy here.

eleven: Josh Weller

Despite the whole narcissistic side of things of myspace, it is nice when the most recently added band or artist in your friends leaves you a thank you comment. Keeps it more personal and less corporate like.

If you've had the pleasure of hearing Josh Weller you'll have no doubt added away and received his comment that plays on the laughable pun of his second name rhyming with Um-ber-ella. I'll let you find out the joke in all its glory for yourselves.
Most of his music uses themes from the darker side of romance; meeting the dislikeable parents, cheating and girls who are gonna grow up to be ugly as sin, oh, and there's one about the Circus (!!!!). Live, he comes across as nervous yet loveable, like the geeky library boy who's been jilted his fair share of times.
Pretty Girls (the debut single) is a bitter song that wistfully spins a tale of beautiful ladies doomed to become ugly in Weller's imagination when they're 40 onwards. You have to empathise with his fragile voice and find yourself pushing these possibly fictional women towards their fate as Josh becomes more and more emotional in his performance.
The aforementioned Circus is a definite favourite of mine. It's so good it even sounds like a circus. The B-side to Pretty Girls is once again rather dark "That boy doesn't know his luck/On his knees in the toilet cubicle in the interval/He's gonna get laid tonight" I say rather...it is dark.
But you have to forgive Josh because of his appearance, you have to embrace the lyricisms and overlook the innocent boy who croons into the mic about insanity and the macabre figures in Down In A City. Not that it's an obligation. It's refreshingly shocking and all part of Josh's unique ability.

Catch him around London between the 12th and the 26th of August at various delectable events.
Listen to a demo of Pretty Girls here.

ten: Davie Fiddle & The Lucky Egg

I'm sure you all know a bit or two about those moments when you blank out completely and think about where you'll be in ten years...Or how much of an impact you've made in your however many years on Earth...And how are you really seen by other people..?

All three of those questions are extremely dangerous thoughts. Davie Fiddle & The Lucky Egg of all bands would know, they wrote a song entitled Dangerous Thoughts for cripe's sake.
Davie Fiddle reside in the same ball park as bezzie mates and tour buddies Mumford & Sons with their warm, hearty folky songs. If you're off out to see them live, brace yourself for dizzying heights of elation, found in songs like Rosanna and then heart-stopping lows in the form of Nothing Says I Love You and others. As performers they are charming and infectious, a factor that some think comes across best live.
Andrew, Phil, Kevin and Chris (who once again contribute to their friends' musical projects) create truly reflective music, I wouldn't say it's music made to have epiphanies to, but you'll definitely realise a thing or two about yourself during the course of a song scribed by Davie.
Dangerous Thoughts is a song with a fist. The verses of the track ask questions like "Is this what I've become?/Is that how I'm perceived?" that make your heart drop lower with each and every syllable and you're forced to look inwards at yourself. It's music not for the faint-hearted that drives to your very core.

There's only one live date on the horizon to speak of. 31 July. Old Queen's Head, London. Be there or be square.
Listen to Dangerous Thoughts here.

nine: Sportsday Megaphone

Bedroom dancing? We all do it. Admit it. We all have those little guilty pleasures like singing into your iPod or hairbrush as you try to moonwalk your way through piles of clothes on your floor.
Unfortunately if you're lazy like me, you can't be arsed to put the music onto your iPod and just end up throwing out some jiggles at your computer screen.



Sportsday Megaphone (ironic really that I sit on my ass as I type that name) is 22 year old Hugh Frost to his friends and synth connoisseur to the masses. After sending Rob Da Bank a demo on pure whim, Hugh was signed, sealed and delivered to Bestival, his label, Sunday Best's festival.
The greatest appeal about his music is the rush of it. LA, his recent single, echoes his past in America with meaty lyrics and killer synths ("This is the USA/And if you're not on the team/You can stay on the street for the rest of your life"), a stab at that haunting dead-end job perhaps?
The B-side to this track Young Lust is a dinky delight of a song with slightly more obtuse lyrics behind its joyous atmosphere ("Never lend a house to lovers/They leave stains/Blood, sweat and semen accumulate"), you'll probably find yourself singing along in any case. It is damn catchy.
Hugh's success is obvious due to the fact that his debut 7" (released in June '07) is now sold out. And I wouldn't have it any other way. Less And Less, the title track, is similar to LA in the fact that it's tight and racy. It's a song about moving on from all your mistakes and offers some helpful and encouraging advice "Life's too short to worry about what others think of you". It's a suprise pick-me-up accompanied by blips and bleeps that we could all do with once in while. So don't reach for that bar of chocolate. Pop on your headphones, pick out a pair of your best short shorts and dance a night in alone all the way to 3am.

Listen to LA here.