WHIMSICAL and PLATFORM RECORDS artist reviews

THE OK SOCIAL CLUB - 'The Shape Of Things To Come' (Platform FORM8)

PRESS RELEASE:

'The Shape of Things to Come' is the debut single from Edinburgh's The OK Social Club, one of Scotland’s brightest young bands. Drawing from a diverse range of influences from 50's girl groups to 70's punk, The OK Social Club exhibit their writing talents in full throughout the song - it's guitar driven, with a foot stomping rhythm and unforgettable hooks. This catchy and energetic track has radio play written all over it. Backed up by two B-Sides - Twist, Learn, Kick and Scream and Twisted Young Gentlemen, this release is a strong mark in the sand from a band with a confident grasp of their own identity. "it's all about the melody - we're a pop band at the end of the day", says the band's charismatic front-man Raff. When asked why they chose The Shape Of Things To Come as their debut single, he added, "it's a good representation of what we're about, it's a new song with bags of energy and an indicator of what's to come." The band will be celebrating the launch of their first single with a gig on 24th March at Cabaret Voltaire in Edinburgh, followed by a UK tour in April. Guitarist Chris Finn says "It's been great fun recording these songs, but I've missed playing live, I can't wait to play in front of people again. Our first demos were played on local and national radio shows which led to us gigging up and down the country, hopefully this single will help us build on that." The Shape Of Things To Come is released April 2nd 2012 on Platform Records.

REVIEWS:

Edinburgh upstarts The OK Social Club may be reminiscent of the Strokes, but they manage to hang on to their Scots accent on this slice of pop brilliance. ****
http://www.dailyrecord.co.uk/life/reviews/music-reviews/singles-reviews/2012/03/16/other-singles-march-16-86908-23790333/

The opening strains of ‘The Shape of Things To Come’ by Edinburgh’s OK Social Club tells you everything you need to know – they’re taking the happier, poppier elements of Scottish music, from Bis to Dananananaykroyd, and they’re updating them for the 21st century. The debut single from the band, there’s certainly promise on show here. It’s nothing life changing – but then again, whose debut single is these days? – but it is most certainly enjoyable fare from a young band. ‘Shape of Things To Come’ brims with energy, and even shows a nice change of pace as the song moves towards its close, with a singalong coda that should get even the most jaded of gig-goers singing along. The single is backed up by ‘Twist, Learn, Kick and Scream and ‘Twisted Young Gentlemen’. ‘Twist, Learn, Kick and Scream’ is pretty standard b-side fare, a nice song, but nothing to really take notice of. ‘Twisted Young Gentlemen’, however, is the real hidden gem of this three-track collection. An end-of-night song that bookends the single nicely – opener ‘The Shape of Things To Come’ sings: “What did I do last night/How did I end up here” whilst closer ‘Twisted Young Gentlemen’ says: “And now/All that’s left/Are photographs/And battle scars”. All in all, ‘The Shape of Things To Come’ is a decent debut single. ‘Twist, Learn, Kick and Scream’ is the only song that doesn’t leave much of an impression, but the other two songs show that there’s certainly promise, and if this is The Shape of Things To Come from The OK Social Club, then maybe it’s worth keeping an ear to the ground. http://www.isthismusic.com/ok-social-club (3.5 out of 5)

The OK Social Club - ‘The Shape Of Things To Come’/double B-side, ‘Twist, Learn, Kick and Scream’ and ‘Twisted Young Gentlemen’, Single Sunny, fresh faced, highly melodic, catchy Indie which bowls along, in well matched harmony, beautifully delicate, nimble, mellow bass, the star, supported by scrunchy, cheerfully careering guitar , energetically optimistic, sensitive drums and soulful vocal, Scottish accent appealingly apparent. Though employing familiarly engaging stock musical phrases, all three songs melodically, memorably endearing, poignant , individual touches providing unexpected pleasure, particularly the break, three quarters though 'The Shape Of Things To Come’, built around wonderfully laconic bass. Twist, Learn, Kick and Scream’ adds touch of ‘60’s Kinks style, in vocal effects and melodic construction, with hints of Bragg and Two Tone, while more contemplative ‘Twisted Young Gentlemen’ , most obviously Indie pop, infectiously anthemic. http://www.mudkiss.com/chumkimarch12.htm

Sunshine and lollipops, in the form of The OK Social Club, greet you on The Shape Of Things To Come and just like Hansel and Gretel – you’re going to gorge yourself on their gorgeous, upbeat tunes – a modern spin on REM by us, the dour faced Scots – with feel good indie anthems as the result. Opener ‘The Shape Of Things To Come’ serves as an explosive, exciting introduction to your new watering hole, fast and energetic – it’s a great way to set the tone. Next track up, the oddly titled ‘Twist, Learn, Kick And Scream’ drops the tempo, but not the optimism – the indie instrumentation showing a sharper edge, with darker, more abstract lyrics as a result. Closer ‘Twisted Young Gentlemen’ is an effective encore; simple lines, big choruses and straight grooves allow everybody to participate. It’s nice to see a band taking a smiling sideways glance at things in what’s becoming an increasingly dark world. Words: Matthew Slater http://ravechild.co.uk/2012/03/02/record-review-the-ok-social-club-the-shape-of-things-to-come-platform-records/

THE OK SOCIAL CLUB "THE SHAPE OF THINGS TO COME" (PLATFORM RECORDS) RELEASED? 2nd April. SOUNDS LIKE? Interesting, no sooner has Scotland got its own and superior version of Billy Joel in Michael Maclennan than they go and produce the very noises that ye olde Arctic Monkeys were supposed to be making all along. The Ok Social Club perform this neat trick by molecule mining the shafts pre-drilled by Ballboy and whacking in all those clanky basslines that Clor were supposed to save EMI with. That's the short and simple answer to the 'sounds like?' question and it's the only answer that you need because Ballboy are and Clor were damn good and The Ok Social Club are damned good IS IT ANY GOOD? Yes, it's fair to say that The Ok Social Social Club give me reason for hope. WHERE IS IT? www.platformrecords.co.ukThat's my brick... http://www.unpeeled.net/singles.html

The OK Social Club have been creating a little buzz around certain circles for a while thanks to their brilliant tight live performances of catchy guitar pop with a slightly punk edge. The band have taken their time with their debut release The Shape of Things to Come, out now on itunes and available to view on YouTube at http://www.youtube.com/watch?v=gCKSdQ1w2io A guitar riff appears out of a flurry activity before a catchy acapella vocal takes you off on a guitar-pop trip for three-and-a-half-minutes. There are echoes of The Cribs and the poppier moments from The Libertines. The main hook/chorus; You want to see us fail, you love it when we go, a little too far off the rails. is used to good effect throughout the song, turning into a terrace style chant towards the end. The band pack a lot into the 3-minutes, slowing things down, speeding things up, taking things out, adding bits in. They clearly have an ear for a hook and a melody, two things I am very fond of personally. I am a sucker for a good guitar pop song and this is a good one. I need to give the record a rating for this website, something I hate to do as it is up to people to make their own minds up. I mean what is a 5/5 record? You Set The Scene by Love, Whats Going On? by Marvin Gaye? This gets 3/5 for me. Energetic, full of hooks and melodies and promising a lot more. Having seen the band live on a couple of occasions I know they have loads of tunes up their sleeves. http://www.glasgowmusic.co.uk/ReadReview-213

Charming early summer stuff here from Edinburgh’s The Ok Social Club who seem to combine the sounds of We Were Promised Jetpacks with The Boo Radleys. 7/10 http://www.tastyfanzine.org.uk/singles121apr12.htm

Edinburgh scamps The OK Social Club’s dynamic new single is a melodious little ditty that veers from the indie rap sheet of early days Twang and parades the energy of fellow Scots The View. http://www.shout4music.com/features/this-week-in-singles-242012



THE OK SOCIAL CLUB - 'The Late 90's' (3 track download single and promo cd on Platform FORM 10)

Two-note chorus. Quirky energetic rhythms. Britpop-channeling vibe. Edinburgh’s The OK Social Club 2nd single “The Late 90s” may be a cute song but the music video is even cuter. Doesn’t take too much for me to get enthused about a UK band – just make sure the chorus is an earworm. This totally works for me… http://www.powerofpop.com/poptv-the-ok-social-club-the-late-90s

Sharp, but chunky speedo pop rocking that's breezier than a tramps underpants and that's ''The Late 90'S'' that is. The casual dismembering of the Arctic Monkeys clank pop is called ''Hey What Happened?'' and it's crisp blast is, well, a blast. ''Dirty Buzz'' is the favourite here, mainly because it's part schmaltzy glitter cabaret, part swoon pop and then it goes all late Boomtown Rats with huge slabs of well drilled math rawking, it takes a bit of class to roll that lot together. IS IT ANY GOOD? Yes. They're cute and they're clever and they bite. http://www.unpeeled.net

For a band that has only been playing together for 12 months, The OK Social Club is producing indie music of great maturity. ‘The Late 90’s’ is the second single released by the Edinburgh lads following ‘The Shape of Things to Come’ in March. The title track sounds like the Scottish equivalent of a Strokes’ hit, only with more humorous lyrics: “I used to finish your sentences… but now I don’t know what you’re on about”. “’The Shape of Things to Come’ was an introduction to what the band sound like,” explains Bassist Burn, “but ‘The Late 90’s’ shows our punk side and gives people a taste of our live energy”. B-side ‘Hey What Happened’ is a sing-along stomper with a catchy guitar riff weaving alongside the lyrics and ‘Dirty Buzz’ has clear music influence from the likes of The Arctic Monkeys. ”It’s great that people are eager to hear more from us. “We want to release new stuff as much as we can, that’s why we’re putting a couple of B-sides on each of our singles” frontman Eragona says with an appreciation for their fans. “Expectations are high and that’s a good thing, it keeps us on our toes.” Check these guys out if indie-rock is your thing or you simply need to have a head-banging season to put a smile on your dial. http://ravechild.co.uk/2012/07/11/record-review-the-ok-social-club-the-late-90s-platform

The OK Social Club are at it again – new single ‘The Late 90s’ picks up exactly where the gang left off with previous single ‘The Shape of Things To Come’, meaning more punk rhythms, and their veritable melting pot of Scottish pop music. ‘The Late 90s’ is a bit different from what’s came before though – while ‘The Shape of Things To Come’ was very much a pop song, with slick production and a very radio-friendly sound, this latest effort is a bit more rough around the edges; but don’t take that as a bad thing, because on this evidence, it works better for the band. It would have taken a fool to say there was a lack of energy on previous OK Social Club releases, but this is a different kind of energy altogether. The guitars are a bit louder, but it brims with the same energy that made ‘The Shape of Things To Come’ so damn catchy. Much like the previous single, ‘The Late 90s’ is backed by two very acceptable b-sides – both ‘Hey What’s Happened?’ and ‘Dirty Buzz’ are of similar quality to the title track. ‘Hey What’s Happened?’ slows things down a bit (even bringing about a kind of ‘end of the party’ vibe) before ‘Dirty Buzz’ blends both these qualities together, raucous, shouty choruses and slower verses to break it down. At least one thing has been cleared up about The OK Social Club – they aren’t one trick ponies, they can change it up when needs be. The real test however, will come when they release any sort of full length record. If the formula can last over an extended format, then they certainly are onto a winner. (4 stars) (Mikey Reynolds) http://www.isthismusic.com/the-ok-social-club-2

Snapping and crackling with masterful exuberance, The OK Social Club’s second single is a bolt of lightning to the heart of a dreary indie summer. The Edinburgh four-piece have spent most of their career to date honing their infectious riffs around the country, and this tightness shines through on this catchy burst of pop brillance. Straight from the off ‘The Late 90’s’ blows the majority of the competition out of the water, with it’s start/stop intro demonstrating both innovation and craft. Chris Finn’s subtly catchy guitar line and some pounding percussion build the sonic layers and channel the song beautifully towards Raff Eragona’s sugary vocals. Despite their modern sound, the song deals with the stickiness of meeting old friends and the universal feeling of having rown apart. “I used to finish your sentences/But now I don’t know what you’re on about.” Dripping in youthful nostalgia, the song spirals towards a chorus as energetic as DZ Deathrays mixed with the refinement of early-Strokes. Name checking infamous Edinburgh haunts from back in the day, the song never gets caught looking backwards but continually drives forwards on a melodic rollercoaster. And in under three minutes it’s done. Instead of simply wearing their influences on their sleeves, The OK Social Club have bent them to their will and sculpted a sound that is uniquely their own. Their music swings with a perfect ying and yang, resonating like an iron fist in a velvet glove. ‘The Late 90’s’ will lure you in with it’s honey harmonies or pin you down with its machine gun guitars – either way you’ll be having a great time. http://www.theedinburghreporter.co.uk/2012/07/review-the-ok-social-club-the-late-90s

Having reviewed their previous offering, in March, I concluded “...sunny, fresh faced, highly melodic, catchy Indie which bowls along, in well matched harmony...” Like that ‘single’, this is actually three tracks, and though they have lost some of their puppy dog poignancy and warmth, grown more brashly confident ,instrumental and vocal prowess even more honed, this single is similarly endowed, shining with inspiring Indie spirit, unpretentious, brimming with sparkling vigour and verve. None of these songs quite match ‘infectiously anthemic’ ‘Twisted Young Gentlemen’ from the first single, but all stand out in crush of Indie crowd: ‘The Late 90’s’: Starts and stops like scratched record before burbling, babbling along, thrilling throb of dew drop bass, foil for articulate guitar in conversation with zealous vocal “... I used to finish your sentences... now I don’t know what you’re on about....talk, talk, talk, talk...you talk a lot...” before rabbiting, racing off in parody, guitar skittering, sharp little riffs in hot pursuit, taking brief breath in snatch of Monkees harmony before careering off, screeching to halt. ‘Hey What Happened’: Beautifully eloquent bass, warm hearted drums, and impassioned ,yet more languid, reflective voice, “...forget what you’ve been told... does anyone even want to know...”adds poignancy to this just as sparky song, guitar shredding strum, picked, prickling in its higher register ,niggles , nags, tangles , teases, tantalising melodic counterpoint to vocal melody, coalescing in unified, defiant chant. ‘Dirty Buzz’: Guitar again in enticing conversation with cheeky, vehemently vivacious vocal, bass funky, slipping, sliding, jumping, jiving, drums careering, classic melody, new wave punk, inflected with Ska, rocked with roll, bowling vibrantly along. An effortlessly energising, melodic romp through many talents of this musically astute and versatile band, who definitely have a defiant, dirty big buzz about them. http://www.mudkiss.com/chumkiaugust12.htm



THE OK SOCIAL CLUB - 'Gezellig' (1 track download release on Clydebuilt Records / Platform FORM 12)

This four-piece indie/punk/pop band only emerged from the Edinburgh underground around 18 months ago, but they’re already making some serious headway with major radio and TV airplay on shows such as Sunday Brunch, Soccer AM and Steve Lamacq’s 6 music. ‘Gezellig’ is their third single after ‘The Shape of Things to Come’ and ‘The Late 90′s … it’s bloody brilliant! Be sure to look out early next year for debut album ‘Nothing In Common,’ along with a nationwide UK tour! http://whatshotandlivemusicshots.wordpress.com/new-single-reviews/17122012-2/

In a world of urgency, music that has been brewed over time has the power to stop you in your tracks. After spending the last year and a half honing their sound and gigging across the country, the Edinburgh four-piece’s third single comes with more than just promise. Fully formed with Fender’s firing on all cylinders, ‘Gezellig’ is the cherry on top of the charming catchiness of their first two releases. Straight to business with from the very first chord, lead singer Raff Eragona’s velvet voice sits seamlessly with the band’s upbeat indie. Continually complementing each other, ’Gezellig’ is the perfect blend of highs and lows. Chris Finn’s solos never linger longer than is needed whilst drummer Jordan Harvey’s backing is driving but never overbearing. The song’s peak comes in a few fleeting seconds of calm mid-way through, when Eragona’s voice rises above this temporary lull to assert the chorus of “Darling I was a sorry state when you found me/You shook me up and you spun me round/I will always remember that”. Perfectly in control before launching back into their freewheeling riffs – it builds not only momentum but anticipation for more. Alas, but in just over three minutes The OK Social Club manage to throw out the kind of aerodynamic, adrenalin-fuelled sunshine rock that most bands flounder about on a whole album trying to achieve. Crucially ‘Gezellig’ has an all-important intangibility about it – combining Beach Boys vocals with Dave Davies guitars to create something completely alluring. With debut album Nothing in Common out early next year and a prestigious spot at this year’s Edinburgh Hogmanay celebrations, The OK Social Club are doing more than just alright.

For the OK Social Club, 2012 has been a big year.The release of two stand out singles ‘The Shape Of Things To Come’ and ‘The Late 90s’ have opened up a whole new audience due to praise and exposure from the likes of Soccer AM and BBC Radio and to top it all they have also been announced to perform at the legendary Hogmanay Celebrations in Edinburgh. To celebrate this fact they have released a third single, ‘Gezellig’ which is also a further taster for the forthcoming album ‘Nothing in Common’ set to be released early 2013. Right from the off it’s more of the same from Edinburgh’s newest indie darlings; lead singer Raff Eragona’s unmistakable velvet tones fit seamlessly with the guitar band plan which, admittedly, has been tried and tested before, but The OK Social Club still seem to sound fresh and new. ‘Gezellig’ sounds like The Courteeners’ most pop guitar rhythm had a love child with a Fratellis singalong chorus. The solos are on reverb overload for most of the song and this only complements the undeniably addictive bounce of the rhythm guitar. The band have managed come up with a delightfully catchy pop punk song with more hooks than a Norwegian fishing boat and that’s exactly what ‘The OK Social Club’ are all about. With a celebrated spot at Edinburgh’s Hogmanay party, coupled with a debut album, the future looks much better than just OK for ‘The OK Social Club’. http://www.isthismusic.com/the-ok-social-club-3?



THE OK SOCIAL CLUB - Debut album 'Nothing In Common' (CD / Download on Platform Records FORMCD4)

The Ok Social Club formed in the summer of 2011, the 4-piece band draw from a diverse range of influences from 50′s girl groups to 70′s punk, exhibiting guitar driven foot stomping rhythms and unforgettable hooks. 2012 saw the release of the band’s first two singles The Shape Of Things To Come and The Late 90’s which won them praise and exposure via the likes of Soccer AM, BBC Radio Scotland’s Janice Forsyth show ‘Single Of The Month’, MTV, Channel 4’s Sunday Brunch, Hollyoaks, Steve Lamacq’s Rebel Playlist Winner on BBC 6 Music, and play-listing in Topshop stores worldwide including 10 weeks in the New York store. Their first Scottish tour has included sold out shows in Edinburgh and Glasgow and has helped The OK Social Club build a following all over the country. 2013 is gearing up to be an exciting year for the band, with the release of their debut album “Nothing In Common” on February 4th along with a full-scale UK tour. The OK Social Club album is an impressive debut and highly recommended for those with a love of loud, fast rock n’ roll. It’s the kind of musical recording that is also a heap of fun to listen to repeatedly. Most listeners will get pulled in by the wall of guitar sound driven by the propulsive beat provided by Jordan Harvey on drums. Once hooked, listeners will realize how crafty this band is to have come up with something that seems so simple at first, but sounds so brilliant in hindsight. Every ounce of praise this album will undoubtably receive, shall be deserved. It’s minimalistic, raw, fast, and perfect. Melodies and progressions that are simply hard to forget. Lyrics that fit perfectly and delivered gloriously by Raff Eragona on vocals. Gordy Burn pounding his bass in your left ear, and Chris Finn’s buzzing guitar in the right, this is the pop/punk-rock sound and format that has, and always will, capture the hearts of rock n’ roll youth tribes. Right from the glorious, blissfully infectious opening tune, “Getting Away With It,” the band celebrate their sheer unstoppable joy of guitar-based rock’n'roll. What follows hot on the heels of this first song, are another nine-tracks played at breathless speed and intensity, slowing down only for the penultimate tune, “Twisted Young Gentleman.” The standouts are easily discovered and savored along the way. “The Shape Of Thing To Come,” “Gezellig,” “She Said,You Said” and the aforementioned “Twisted Young Gentleman.” Before you realize it, the whole album is over, but it leaves you exhilarated, inspired and bewildered. You’ll be left with vocal chants inside your head, a buzzing in your ears and a desire to figure out a couple of chords on that old guitar you never quite got the hang of. The OK Social Club is pure aural amphetamine at work. http://jamsphere.com/reviews/the-ok-social-club-nothing-in-common-out-on-february-4th-along-with-full-scale-uk-tour

My introduction to The Ok Social Club, was through the boys at Bainbridge Music, when they posted one of their videos on Facebook. From what I had heard then, I had instantly become a fan of their music, and so, when I had an email from Music Elevator PR, with their debut album, Nothing in Common, attached I couldn’t wait to listen to it. And I have to say I wasn’t disappointed. The OK Social Club, describe themselves as an Indie, pop, rock band from Edinburgh, who are influenced by fifties and sixties girl groups right through to seventies punk rock and roll. And in their debut album, you can definitely hear these influences. The band only started playing together in the summer of 2011, and ever since have become, what can only be described as one of the hottest new bands from Edinburgh. Already in a short space of time they have had their music featured on various TV and Radio shows, including; MTV Rock, The Sunday Brunch playlist and Soccer AM. It doesn’t surprise me that they’ve been getting all this attention, as their songs have a real feel good, factor to them. In fact, listening to their music takes me back to my mid to late teens, when I used to listen to Ocean Colour Scene on constant repeat, as well as many other great indie pop rock bands that were getting aired on Top of the Pops. If I was to compare them to any band I would have to say that it is Ocean Colour Scene, that they remind me of. Especially when listening to what has to be my favourite track on the album, Twisted Young Gentleman. The song takes a slower pace to the others, and to be honest being track nine, you need that chill out time after dancing around like a looney to the other songs. The lyrics sum up what the album does to you, ‘takes me back, back to the old days.’ The songs, describe fun times, love, and remembering the good old days. But not in a woe is me kind of way, but in a get up and go, lets get drunk and have an ace time kind of way! Their foot stomping tunes, make it feel like you are back in the nineties, with blazing hot summers, chilling out in the sun, listening to great tunes. Some of their songs remind me of artists like The Hives, as well as a faster paced version of The Smiths. The songs are full of wit, and you can tell the band don’t like to take themselves too seriously. One of the songs on the album has the title Gezellig, which I feel is also the best term to use for the album. It is purely Gezellig! Gezellig being a Dutch term that is used to encompass all that is Dutch, cozy, quaint, nice. And that is what this album is, cozy, quaint and nice but with a mighty punch of fun, bouncing tunes. So if you need an album to get you through the winter blues, and bring you into the summer, then Nothing in common is the album for you. I certainly haven’t stopped listening to it since it arrived in my inbox. And as for The OK Social Club, I’d say they are ones to keep an eye on in 2013, because in all honesty if The Beatles were producing pop-rock music for the modern young listener, it would probably sound like these guys. http://secretsoundsuk.wordpress.com/2013/01/15/the-ok-social-club-nothing-in-common

There will always be room in the world for music to have a dance to – The OK Social Club seemingly had that memo in mind during the writing process of this their eagerly anticipated debut full length. Nothing In Common is packed with shiny and satirical pop sensibilities, but in place of the contemporary disposability, which so often plagues many bands within the pop-indie genre, is a bunch of exquisite hooks, which will enter your membrane and refuse to leave. The nucleus of The OK Social Club attack is based around social commentaries and ironically laced lyrics. These commentaries and enticing melodies have earned the Edinburgh quartet airplay on the likes of Soccer AM and MTV over the past twelve months, and more recently catapulted them in front of the masses at the capital’s massive Hogmanay celebrations. Praise and adulations aside, the question has always been whether this lot could sustain a solid and consistent sound to create a memorable debut album. Crucially, the band manages to produce clinical results, do not be fooled, though, there are songs on Nothing In Common, which would have been better left on the studio cutting floor. ‘Twisted Young Gentleman’ for example, exudes ideas of ballad grandeur but just fails to hit the mark – coming across slightly awkward rather than endearing. However, this is but a slight hitch, ‘Getting Away With It’ and former single ‘The Late 90s’ sound more vital and beautiful than it ever has before. Simmering with both confidence and presence the band lay the foundations to something pretty special. The main reason Nothing In Common comes across as such a charming little listen is because of the baptism of realism placed within the lyrics. ‘The Shape of Things To Come’ places together the pieces of a night out which turned out more than a little raucous, the charms coming full circle when narrated in a truly ironically fluttered fashion by vocalist Raff Eragona; “What did I do last night? How did I end up here?” he asks. If ‘The Shape of Things to Come’ is about the crime scene of the party, then ‘Gazelig’ is about redemption and apologizing for the aftermath; “darling, I was a sorry state when you found me”. It is through this track where the bands true charm is exposed; realisation that the fun is over and a need for responsibility and consolidation takes precedence over reckless occasions. The urgency of this balance is replicated through the sound of sweet jangly guitars and rhythmic drums, which both soothe and seduce magnificently. Make one thing clear, though – Nothing In Common is not a record made up of patronising and preaching tones; that would be a massive misinterpretation of what this record achieves. Bounded with undercurrents of 70s disco and with guitars that shred just as delicately as any Strokes or Cribs record – The OK Social Club have crafted a sound that is just as intelligent and intriguing as their contemporary commentary. http://ravechild.co.uk/2013/01/21/record-review-the-ok-social-club-nothing-in-common-platform

The OK Social Club are a group of lads from Edinburgh, who’ve only been together since 2011 but have already played Edinburgh’s Hogmanay, been given a nod of approval by those at This Feeling and have been played on air by Steve Lamacq and Janice Forsyth. With all this in mind, and under the promise of guitar music making its comeback in 2013, The OK Social Club have fired out their debut album Nothing In Common for us to get our lugholes around. My main qualm with this record is that it’s simply not long enough. It’s packed full of great little tunes – not one of which I would say is a bad track – but each track clocks only two to three minutes. Nothing In Common just about reaches the half-hour mark, leaving the listener hungering for more. That may be part of some genius plan however, in which case, well done to them on that one! Timing issues aside, Nothing In Common covers some interesting subject matters, and is particularly appealing to those in their early 20s who can relate to a lot of the song topics. Album opener Getting Away With It melodifies the classic problem of having a crap job, or using a job as a means to an end. What OK Social Club are getting away with is skiving and generally not getting caught at being a bad employee. The melody itself is reminiscent of early Kings of Leon, channelled via Edinburgh. Little Broken Bones references Susan Sarandon and is the bands own regaling of their glory days, interestingly named Gezellig is about a disturbed young man’s chance relationship, while Twisted Young Gentleman is the stereotypical coming-of-age tune you’d expect on a debut indie-pop album. It’s a track you would be forgiven for thinking came from The Fratellis, although that conclusion may have been drawn mostly due to singer Raff Eragona’s accent. Top tracks on the album are C’mon and The Shape of Things To Come. The latter catches ears with staccato verses and edgy harmonies. Both tell the tales of the party life, with a beat and melody making it impossible not to agree with them and want to join in. Highlight of C’mon is Eragona speaking the excellent colloquialism “sitting there miserable with your face tripping you”. The OK Social Club have created a solid first effort with Nothing In Common. Providing upbeat, catchy indie songs covering subject bases that their core audience can relate to whilst gleaning comparisons to some of the biggest indie bands of the noughties will definitely serve them well. If the only problem is that the record isn’t long enough, they don’t have much to worry about; The Strokes survived about 6 years with only 2 hours of music to their name. http://www.7bitarcade.com/music/article/2013-02-05-the-ok-social-club-nothing-in-common/

If artists want to draw like children, do bands want to sound like them? Nothing In Common comes drenched in the infectious ambition and enthusiasm of youth, buzzing with the energy that all debuts should. But the Edinburgh four-piece have old-heads on their young-shoulders after spending the last year and a half touring the UK, refining their sound and notching up three well received singles in the process. And their brand of tantalizing guitars and melt-in-your-mouth lyrics transfer well on to their first album. ‘Little Broken Bones’ has the right blend of pop sensibilities and beating emotions, with Raff Eragona’s vocals and sassy guitar throwaways adding sprinklings of wit to this indie number. ‘Diffidence Dance’ is perhaps their most out-there moment, moving through the gears from full band handbrake skids to high-octane guitar scratching with aplomb. Eragona’s vocals are again the cherry on top of this well-layered number, with you able to taste the truth when he admits “There’s always a way you can mess it all up/Then I’ll do that/And if there‘s a way you can make matters worse/I will find that”. The singles still sound as fresh as when they were but glints in the band’s eyes as well. ‘The Shape Of Things To Come’ is that familiar fumble after a heavy night out whilst ‘The Late 90s’ has guitar lines so sharp you could shave with them. Most recent release ‘Geezlig’ is the highlight of the album, providing equal measures of foot-tapping and chin-stroking for the patient listener. The OK Social Club’s debut might sit in the sunlight but dig a bit deeper and you’ll also find whisperings of the blues. Unashamedly catchy, it is the sound of the band who have perfected the art of crafting three-minute songs destined to take up rent-free residence in you head. Largely upbeat without being sugar sweet and harbouring some confessional honesty without sounding trite, Nothing In Common demonstrates why they are one of the hottest properties in Scotland right now. http://markmckinlay.wordpress.com/2013/02/06/review-the-ok-social-club-nothing-in-common

There are many amazing music scenes very far from the New York City scene that I have been part of for as long as I can remember. Luckily my position as a music writer has enabled me to discover bands from all over the world. God bless the power of the internet shrinking the musical world. Some of these bands would fit in perfectly in the lower east side of Manhattan venues that I love to frequent. The latest discovery is The OK Social Club. The band is a little young in the teeth, only officially forming in the summer of 2011. In the last year and a half the group has made huge strides and has set themselves up as one of the bands from the growing Scotland music scene that is ready to break in the rest of the world. The foursome of Raff, Chris, Gordy and Jordan combine a wide range of influences from 50’s girl groups to 70’s punk to today’s alt-rock genre. Last year The OK Social Club released their first two singles, ‘The Shape Of Things To Come’ and ‘The Late 90’s’ which grabbed the attention of many of the influential members of the Scottish music press. The band’s tour of Scotland included sold out shows in Edinburgh and Glasgow. Now The OK Social Club is ready to show off their talents to the rest of the world with the release of their debut album Nothing In Common this week on Platform Records. They also plan on a full –scale UK tour to promote the release. The album is full of quality alt-rock tracks from the opening playful pop track ‘Getting Away With It’ to the full of energy and funk ‘C’mon!’ the lead single ‘Gezellig’ is a little slowed down to let the listener focus on the quality songwriting. I had no idea what the word meant so I dove in to find out that it is a word with no translation into English. Literally, it means cozy, quaint, or nice, but can also connote time spent with loved ones, seeing a friend after a long absence, or general togetherness. What a cute little title for a cute little pop song. Don’t get me wrong, The OK Social Club is in no way trying to be an American band and they let their accents and Scottish tendencies shine through in their music. The band does give me flashes of fellow Scots Franz Ferdinand or Americans The Killers but this music is all their own. I have a feeling we will be hearing more from these guys on this side of the pond before long. http://indiebandguru.com/the-ok-social-club-wont-take-long-for-this-band-to-enter-your-alt-rock-playlist/

This is the debut album by a young Scottish band and its certainly a promising start by these Indie Kids. The band have already seen some of the songs featured on popular TV shows such as Soccer AM and Hollyoaks which is a good indicator of the wide appeal of many of the songs. The album kicks off with "Get Away with It" which has some great Britpop type lyrics, recalling the day to day struggles of the every day man. Lots of the songs are just custom made for dancing to at the local indie/student disco. Songs such as "Little Broken Bones" and "C'mon", actually have a similar sound to early Razorlight but rather than evoking the ego of Johnny Borrell, actually give the impression of a bunch of scamps having a good time. Not surprisingly, the first two singles off the album, "Shape of Things to Come" and "The Late 90's " are by far, two of the standout tracks on the album. The former begins with a great acapella opening and then it all comes together in a bouncy tune. It has a mid song break and overall provides a good element of diversity. This is something the band will need to work on as there is a tendency for some of the songs to sound a tad similar. "The Late 90's" however is another example of the band really hitting form. Its a really good song with a great chanting chorus. Its a pity that the songs have been released already because they both have the sound of a summer time hit. This success is also evident in "Everybody's at it" where there is again a hint of almost Britpop in both the sound and the lyrics. It reminds me of The Jam going really pop, which in turn is effectively Blur circa Modern Life is Rubbish. This albums is actually quite similar to another Northern based band, The Heartbreaks who released their album last year and enjoyed some good exposure via 6 music. Whilst the Heartbreaks adopted a similar indie pop sound, their album is tempered with the more depressive tone of Morrissey. This album takes a similar sound but instead it adds to it with the more upbeat sounds of the aforementioned Razorlight and Blur. The band clearly have potential and with a bit of air play this album could attract success amongst a more mainstream audience. Review by Paul Hastings http://www.mudkiss.com/februaryreviews13.htm

NA, NA, NA, NANNA NANNA NA! THE OK SOCIAL CLUB "NOTHING IN COMMON" (PLATFORM RECORDS) RELEASED? 15th April. SOUNDS LIKE? Sharp and brutal pop rock. Everything is bright and sharp, The OK Social Club mix their mixes with bravery, you can hear and pick apart every note from from every instrument, but you won't be doing that because you are a real person and, being a real a person, you will be too busy rolling around in a frenzy, noticing nothing more technical than the fucking fabness of The OK Social Club. You're right an all, this is a set that bleeds class, apart from the excellent echoes of Davey Henderson guitaring, they go right ahead and the lift the riff from Banana Splits, see under ''C'mon'' for details, like the riff. IS IT ANY GOOD? Yes, ''Nothing In Common'' is an album that follows familiar guitar, drum and bass pathways and it fits neatly into the pop/rock pigeonhole, but ''Nothing In Common'' has nothing in common with the vast, vast majority of pop/rock albums, mainly because it's a damn good one. Oh, they also appear to have the best drummer in the world. WHERE IS IT? www.platformrecords.co.uk http://www.unpeeled.net/albums.html

The Edinburgh underground scene is flurried with many young and talented bands relishing the chance to get into some mainstream success. One of the bands up there is The OK Social Club. With their new album combining The Strokes’ quick fire riffs and fellow countrymen The View’s lyrical concept of teenage angst and regular drunkenness, it has impressed bands out with Edinburgh like The Feeling. Spending months finding their sound and touring extensively in the UK has shown why their debut makes them one of the hottest Scottish acts around. Nothing in Common has its similarities to a great deal of Strokes songs. The guitar tone is extremely comparable to what Albert Hammond and Nick Valensi’s are. The sassy tone isn’t too patronising nor an exact carbon copy of The Strokes sound, but it does complement Raff Eragona’s vocals profoundly. Eragona’s vocals are essentially an Edinburgh version of what Kyle Falconer of The View’s are. Not to mention that they look awfully similar too. ‘The Shape of Things To Come’ is the song that will be used on indie dance floors in night clubs where a few dozen people will dance along to it. It captures any clubber’s nightmare of not remembering the night before; for example when Eragona says, “What did I do last night? How did I end up here?“ The album is filled to the brim of jumpy, sub-three minute indie tunes, with topics relating from alcohol and parties, to girlfriends and realisation. Perhaps the theme of drinking is overused, almost to the point where it becomes over-excessive. The band has catapulted into success that is growing substantially. Their songs have been used on Soccer AM and MTV and they were even chosen to play the Hogmanay street party celebrations in Edinburgh alongside bands like The Maccabees and Reverend + the Makers. The debut album is a delightful starting point for a indie band that couldn’t be in better position than The OK Social Club. Their palatable indie beats give any person the instantaneous feeling of wanting to jump around like a maniac. However, the over-appreciated Strokes sound and repetitive lyrical themes are a learning curve that can be develop for future songs. http://thereviewal.wordpress.com/ (7 out of 10)

It has been said that ‘best live band’ is pretty much synonymous with ‘pretty disappointing recorded band’; so off the back of their Best Live Act win at this year’s Scottish Alternative Music Awards (SAMAs) are The OK Social Club really that bad on record? The short answer is ‘Eh… naw!” as their jaunty, energetic indie rock transfers seamlessly from stage to disc. Whipping up the kind of careless vibe that rocketed fellow countrymen The Fratellis to success with their debut ‘Costello Music’ over five years ago ‘Nothing In Common’ is sterling effort. The galloping guitar on single ‘The Shape of Things to Come’ is offset against the Edinburgh drole of frontman Raff Eragona to excellent effort. Party tracks ‘Gezellig’ and ‘Diffidence Dance’ also deserve a mention, but it is not all rock ‘n’ roll on this record as the touching ‘Twisted Young Gentlemen’ demonstrates – with its solemn intro and acoustic, waltz-like sound leading to a flourishing finish. All in all, this record is undoubtedly deserving of all the ‘promising debut’ clichés and comments under the sun, now begins the long wait to see what the follow up delivers. http://www.shout4music.com/albums-eps/the-ok-social-club-nothing-in-common

The OK Social Club have a really genuine and youthful sound, a real vibrancy which comes off really well on Nothing in Common and could be the catalyst for a long and successful career for the four-piece from Edinburgh. There are plenty of things to get excited about on this little indie gem. Even the small things like the drum-roll fills on second track 'Little Broken Bones' show the band's willingness to do something different, not against the indie grain completely but trying to be their own beast. That track isn't a particularly catchy one, yet it sticks out as it has real charm, something which is quite frankly lacking with many British indie bands nowadays. 'The Shape of Things to Come' proves this band are firmly in the indie category. They've got that flimsy quality to them yet it stays endearing when usually it would become annoying. The vocal harmonies on that song work well and the chorus is continually catchy. Not all the songs are as strong, though, like 'Diffidence Dance' which is one of those songs which go absolutely nowhere and could have easily been dropped from the album as it adds nothing. However, as a whole, the album is really well-rounded. The acoustic 'Twisted Young Gentlemen' works well as a penultimate number to what is a seriously solid debut from a band who might be the next big thing to come from Scotland in terms of indie-rock. There's plenty of talent here to get to grips with and any plaudits are well deserved. http://soundblab.com/content/content/view/id/5157



DEAD SEA SOULS - Trendsetter (2 track download single and promo cd on Platform Records FORM11)

West Lothian skanking. And some very knowing lyrics about the cynicism and snobbery of the music scene, especially at the unsigned end of things. One for fans of Twin Atlantic's high-energy riffery. (THE LIST)



DEAD SEA SOULS - 'Brave' / 'The Comet' - AA download single (Platform FORM14)

Following last year’s successful LP, Dead Sea Souls have just released a double “A side” single with two fantastic tunes, “Brave” and “The Comet.” These up-beat numbers really made my day (which has not exactly been an easy one) keeping my spirits high and a bounce in my step with their brand of electro-infused power funk. Great pop rock guitar tones, tight drums and bass, crystal clear vocals, and top-notch production help Dead Sea Souls to shine like a comet. Indie musicians, do yourselves a favor. Check these cats out and pay attention! Remember that stuff they taught you in band classes – dynamics, tempo, dramatic pauses – yeah it’s in there, and a little a’capela, too! http://www.midtnmusic.com/dead-sea-souls-brave-like-the-comet-on-mid-tenn-listens/#JP6HA0FvRLUi2QEE.99

"Brave" is buzzed and droned, rising from monotone melodies to understatedly catchy choruses, with their surly attitude belied by the stolidity of the music. "Brave" by Dead Sea Souls is anthem-friendly, rich in melody and informed by current trends for pop and rock. An addictive hook, a rousing chorus, memorable lyrics, slick production, followed with a little repetition. A good tune that I could see being played at a hot festival somewhere in the mountains or maybe close to the beach? "The Comet" also gives me a feel good summer vibe with the fast plucks on the guitar, almost feels like it has a some surf rock influence in there. I really like the originality of the lyrics too, "when you crash like a comet / in to thousands of pieces / you live your life like a comet just waiting to crash / punching holes through my head like the crust of the earth". Overall the track production is nice, vocals and instruments are mastered correctly, the mix of all the instruments are blended well along with Gary Burns scottish accent. http://cargocollective.com/inhaletime/Brave-The-Comet-by-Dead-Sea-Souls

Upbeat and bouncy melodies will fill the room when you tune into Dead Sea Souls. The cool, but driven and hypnotic rhythm that Dead Sea Souls bring is unattainable by many other artists of their caliber. What separates this indie band from the many, many others out in the world is the band’s approach. The band consists of Gary Burns on bass and lead vocals, James Sweeney on guitar, David Clark on the drums, and Colin Sneddon on guitar and vocals. Each member exerts his own style into every second of the music. The most recent and most enchanting release from Dead Sea Souls, on Platform Records, is a double A-side with two tracks, titled Brave / The Comet. In the first single on the double A-side, “Brave” shows that it is a song that emits a strong and fierce attitude with gorgeous and intoxicating melodies. The song slides into an easygoing flow through the verses but then picks up flawlessly throughout the choruses. The singer’s voice resembles that of Death Cab for Cutie’s front-man with an unmistakable Scottish twist. The track is catchy, uplifting, and prizes its way into the listener’s heart rather quickly. “Be as bold as you can” is the highlight line of the entire song; these words will stick with the listener for days. “The Comet” compares to the first track with its great attitude; however, the song itself expresses a different kind of feeling. Dead Sea Souls manage to ooze positivity from what could be considered heartbreaking lyrics, while still maintaining their catchy guitar riffs and memorable rhythms. Gary Burns, who continues to sing the line of “You live life like a comet just waiting to crash,” manipulates his voice to sound as bold as it does in “Brave,” but with a light and sweeter lilt. This double A-side release may just be the perfect pair. The feeling of familiarity that surrounds you while listening to Dead Sea Souls is relieving and undoubtedly satisfying. “We now have two tracks that are completely different,” says Gary Burns, “which is awesome as we wanted to see where we could take this new batch of songs and do something you maybe wouldn’t expect from Dead Sea Souls.” As Burns states, the two tracks take on different meanings and melodies while still capturing that Dead Sea Souls flair. The double-A single is just great in all realms. It’s moving, emotional, and can pull at your heartstrings. But it’s never overly dramatic. The songs are arranged and produced in a way to give you that ‘comfortable and familiar feeling’. Normally a trait found on successful hit records. In a word, both of these upbeat and inspirational tracks take Dead Sea Souls to new heights. With undeniable positivity and proof of passion, Brave / The Comet proves to be the strongest release to come from the band yet, and could just be launching them into a new dimension. http://jamsphere.com/news/dead-sea-souls-brave-the-comet-the-double-a-single

fter the success of their 2012 EP We Were Always Electric, May sees the release of their blasting new double-A side single Brave and The Comet, released by Platform Records. Smashing back onto the scene, the new single continues the reputation of the band not only as a talented and energetic live act but also as budding recording artists, whose new work is a flourish of sound. Unable to agree on a single track, they decided to release an AA single, with the band agreeing that this is their strongest work yet. “We now have two tracks that are completely different,” shares Gary Burns (bass and vocals), “which is awesome as we wanted to see where we could take this new batch of songs and do something you maybe wouldn’t expect from Dead Sea Souls.” As a single, ‘Brave’ is a fantastic piece; melodic, exciting with inspirational lyrics. With its unassuming opening underlined with haunting guitar, Gary’s unmistakably Scottish-tinged vocals build suspense to the ambient first chorus, with drums and guitars joining to fill the sound perfectly. A song to jump around to, it’s reminiscent of bands such as The Killers and Twin Atlantic; a modern soft-rock/pop sound. An uplifting piece, its lyrics: “Be as bold as you can/There’s no room for a worried man/In this life that you lead,” are fitted perfectly with decisive drumming from David Clark and a technical accuracy in the playing of both James Sweeney and Colin Sneddon. A full sound, with breath-taking freshness; a summer tune. In contrast, ‘The Comet’ is described by the band as a “cautionary tale of a loved one’s DSS - Brave & The Comet Packshotunbridled hedonism,” it is a definitive piece and particularly impressive. The structure of the piece, with complex rhythms this piece is not only catchy but musically accomplished. With some spectacularly impressive playing from James and Colin, the piece brings the lyrics, “you live your life like a comet/Just waiting to crash/Punching holes through my head/Like the crust of the earth” to life. The piece literally punches a hole … in your soul, and as the single draws to a close your spirit longs for a repeat. Dead Sea Souls as they say do not “put their faith into coincidences”; their hard work is testament to hard-work and talented musicians. And I am “waiting [for them] to crash” on to a stage near me soon. http://secretsoundsuk.wordpress.com/2013/05/13/dead-sea-souls-aa-single-brave-the-comet/

As I write this mid-week, I am looking for something that lifts me up and helps me soldier on until Friday: ‘Brave’ by Dead Sea Souls is definitely fitting the bill. Emotive, rallying vocals that have a tender yet large quality provide the energy needed for the lyrics. The pounding drum beat and staccato bass and guitar gives the song a fun jerky feel. The lyrics are positive and uplifting with the chorus enigmatically stating ‘Be as bold as you can, there’s no room for a worried man, in this life you lead’. If you want a pick me up this is the song for you. http://www.7bitarcade.com/music/article/singles-round-up-20th-may/



KUNG FU ACADEMY - 'Super 8 Flashback' 6 TRACK EP (Download / Promo CD on Whimsical Records ICAL11)

If you are familiar with the J.J. Abrams and Steven Spielberg’s film Super 8, you may realise that super 8 is the name of the type of camera the children in the film were using, named due to the fact that it used 8mm film. Unlike the digital camcorders we use today, these cameras were all the rage in the 1960s and 1970s. Not only two great eras for technology, but for highly influential music. And so it seems fitting for a band that makes a clear nod to the funk sounds of the 60s and 70s, to title their six track EP, Super 8 Flashback. A fluke formation by their teacher at Napier University, putting them together for a one-off performance, the band have continued working together perfecting their style. The name, Kung Fu Academy, was inspired by an in-joke from around the time the boys parted way with their original frontman, claiming they were attending kung-fu lessons, whilst secretly rehearsing. However, even though their formation is down to a teacher putting them together, you can hear the chemistry of Bobby Osborne (Vocals/Guitar), Laurence Murray (Guitar), Duncan Robertson (Bass) and Fraser De Banzie (Drums) in their infectious funk rhythms and harmonies on the EP. Super 8 Flashback, takes you on a six track journey, through the styles of the classic 60s and 70s psychedelic funk and electric blues. When listening to it, you can hear a clear homage to the classic sounds of James Brown, Jimi Hendrix and many other great musicians of that era. Kicking off with their single and title track, Super 8 Flashback, we are straight away transported into the vintage sound of the funk style. This then leads us into the 70s disco beat of Sally. Oh yes, in this song we go from the jagged stabs of the guitar based verses, into disco ball central for the chorus. Think Flares, think roller disco, think glitter balls, and then darken the image with the edginess and dark imagery of Saturday Night Fever, and you have the sound of Sally. However, my favourite track of the EP, has to be Warpaint. This track has a more chilled acoustic approach compared to the edgy funk of the other tracks. Warpaint is very melodic and harmonic, that slowly builds to its climax with Bobby Osborne’s beautiful guitar work. It is this guitar work that feels like a true homage to Jimi Hendrix. It is a sea drifting tune, that you can listen to again and again. Kung Fu Academy has to be one of the first funk bands I’ve been introduced to since, starting up Secret Sounds, and I have to say I really like their sound. I think these guys can go far. They have really upbeat tracks, The Long Fall being a great contender for a great single. It has an easy radio play factor that makes you turn up the volume, and is a catchy tune that gets stuck in your head. All in all, Kung Fu Academy’s EP, Super 8 Flashback, is certainly something to get funky to. So get the EP, turn up the volume and get dancing round the living room! http://secretsoundsuk.wordpress.com/2013/03/20/kung-fu-academy-super-8-flashback/

SOUNDS LIKE? Oh fuck, they're good aren't they? No, really, it's clean and dirty, multi-layered, funky rock stuff that does the Supertramp thing of smuggling jazz in through the pop door and it also does the Average White Band thing of funking around with real feel. Though we should point out that Kung Fu Academy sound nothing like Supertramp or AWB, you need only twist your hips inside out to ''The Long Fall'' to realise that. IS IT ANY GOOD? Yes indeed, sharp, cute and classy noise, have some. WHERE IS IT? http://kungfuacademy.bandcamp.com/ http://www.unpeeled.net/singles.html

Now this is as tasty a jam as my grandmother’s secret recipe. Bobby (vocals/guitar), Laurence (guitar), Duncan (bass) and Fraser (drums) had no intentions of forming Kung Fu Academy. But, while studying music at Napier University, their teacher brought these four musicians together for a one-off performance. As if it was meant to be, they had a musical chemistry none could deny. So what did they do? They toured Scotland. Super 8 Flashback is the follow up to their commercially and critically acclaimed Dirty Honey EP and it is definitely the jam. Beautiful, well crafted guitar tones. Grooves that leave you no choice but to dance. And an appeal that will cater to various types of music listeners. Whether you are busting a move to the lead single Super 8 Flashback or jamming air guitar to the break in the funky, blues rock extravangza Junction, it becomes obvious this group of musicians know their music. The slower and more chill Warpaint is a refreshing pause in an onslaught of audio sensations dedicated to making you move and groove until you fall. Again, the guitar tones are so beautiful… Please hold while I play my air guitar along with the solo in Warpaint… Awesomesauce. Kung Fu Academy are a musical force that will be burning up dance floors and blowing out tube amps to a much wider audience very soon. http://www.midtnmusic.com/kung-fu-academys-super-8-flashback/

Following the release of a successful debut recording and two years of rigorous touring around Scotland’s best venues, Edinburgh’s Kung Fu Academy, returns to the fore with the dazzling Super 8 Flashback EP. A natural continuation from their commercially and critically acclaimed Dirty Honey EP, the six-track record, released via Whimsical Records, sees the quartet of Bobby Osborne (vocals/guitar), Laurence Murray (guitar), Duncan Robertson (bass) and Fraser De Banzie (drums) combine infectious funk rhythms with lush harmonies, captivating pop hooks and rollicking classic rock riffs. Produced and engineered by the band, and mixed and mastered by Fentek Audio’s Alex Fenton at Swanfield Studios, Super 8 Flashback boasts a clean, crisp, and full-bodied vintage sound that rekindles a now-bygone golden era of DIY guitar-music. There are not many bands out there in the music scene like the Kung Fu Academy; a pop group that can show it’s musical diversity with different styles, and do it flawlessly, seamlessly, and with a lot of class, soul and conviction. They combine soul, funk, pop, and rock in a sort of 60′s and 70′s retro revival. The work done here is quite remarkable! Each song uniquely captures a certain aura, a presence that fills the air with an intense deep feeling. The album is captivating, inspirational, relaxing, bitter-sweet, and uplifting, danceable, deeply honest, intelligent, and has just about every sound era in it! Straight off from the title track, Super 8 Flashback, prepares you for the rollercoaster musical voyage Kung Fu Academy have in store. We then move on to Sally. Whether to set the night on fire or just totally disorientate your listening senses, Sally dodges between soul-ska verses and Saturday-Night-Fever-styled disco choruses, before sliding into one of the better tracks on the Ep, The Long Fall. A straight and fiery alternative rock tune, that hurtles along like a runaway train. At this point we’re in the best part of the Ep, as the triad of songs that follow: “Junction,” “Warpaint” and “You’re Such A Flame,” demonstrates the absolute qualities of this Edinburgh group. Unlike many of their contemporaries, who offer up a cliched catalog of gimmicks to make their music sound ferociously intense, Kung Fu Academy rely on the old-fashioned method of engaging their instruments and working their vocal chords to the maximum. From the first thundering crescendo of the opening bars, the Ep stomps, pounds, roils and flays. The band’s amazing rhythm section remains in exhilarating lockstep throughout the album, while the two guitars do likewise. The embellishing riffs and solos derived from their playing, brilliantly serve to elevate the powerful vocals and showcase the lyrics on Super 8 Flashback. Super 8 Flashback is a solid representation of the band. The songwriting, musicianship, and unique style all come together in this chef-d’oeuvre. Kung Fu Academy delivers the goods with sophistication and focused power. Give this band a try if you’re a fan of innovative riffs and rhythms, heartfelt songs and a great big wall of bass and drums. http://jamsphere.com/reviews/kung-fu-academy-super-8-flashback-stomps-pounds-roils-and-flays

Sometimes a chance meeting or random connection can provide the needed spark in a music career. We always hear stories of musicians who never even knew each other, meeting in some haphazard way and going on to produce some of the most innovative music. The latest such product of this is the band Kung Fu Academy. The group from Scotland met when four music students were randomly put together for a one-off performance. The chemistry was evident immediately and the band was born. When we reach outside of our direct social circles we often find musical minds that are closer to ours than anyone we know personally. Kung Fu Academy found this and the dedication has pushed them to create something much bigger than the sum of its parts. They have developed a funk-based pop style with plenty of sing-along harmonies and have worked hard to expose it to the masses with constant gigging and writing new music by the boatload. They have established themselves as a remarkable live act that is building up quite the following. Last year Kung Fu Academy released the Dirty Honey EP to critical acclaim. Now they are back very quickly with their latest effort Super 8 Flashback, being released through Whimsical Records on April 15th, 2013. The 24 minute EP builds off of the retro funk-pop that KFA has become known for. The opening title track ‘Super 8 Flashback’ begins with a funky feel reminiscent of early Red Hot Chili Peppers and goes back and forth with a luscious harmonic chorus. This is a song I expect to become hugely popular at their live gigs. Enjoy it below: The next track ‘Sally’ has a dance-y disco feel that I challenge any listener to sit still through. The band jumps into more traditional retro alternative rock with the songs ‘The Long Fall’ and ‘Junction’. Kung Fu Academy shows off their softer side on ‘Warpaint,’ a mellow ballad featuring phenomenal harmonies and lovely guitar work. Although only 6 songs, this is a complete record showing that this collection of musicians can put out some extraordinary music with a variety of influences. This is ready for mainstream rock and roll. http://indiebandguru.com/kung-fu-academy-random-meeting-creates-great-alt-funk-rock-from-scotland

Kung Fu Academy definitely like to keep you on your toes. Gyrating through more genres in one song than many bands manage in their career, the Edinburgh four-piece’s latest release begins with a guitar rift that wouldn’t sound out of place on a Caribbean beach. And to throw a little more unpredictably on the fire they end it with some towering early 90s vocals. Bobby Osborne’s voice seamlessly strides on top of Kung Fu Academy’s funk-powered rhythm section throughout, not allowing the song to dawdle but instilling it with a progressive drive. Expansive without sounding overdone, ‘Super 8 Flashback‘s highpoint is undobtedly the honey-sweet harmonies spread over its chorus. Blending together like a fine cocktail, the call and response vocals of “You’re a ghost that could have been/Tragically you’ll always haunt me here/My flashback super 8/Every frame has a picture of you” comes steeped in emotional weight. And like the best things in life, Kung Fu Academy leave you wanting more. Combining finesse with enough kick to make you stand up and take notice is no easy task but one the four-piece pull off expertly. The lead single of their forthcoming EP, expect exciting things if the rest of the tracks are up to this standard. http://markmckinlay.wordpress.com/2013/04/10/review-kung-fu-academy-super-8-flashback

And now for some whimsical indie pop, courtesy of Zeitgeist homeboys, Kung Fu Academy. And it’s whimsical indie pop with a hint of dance, as they vogue on through some rather catchy material. There is some cracking bass work, a few disco shapes, and if they splash out on some singing lessons, they could be mixing it with the big boys. When they’re more straigtforward as on ‘Junction’ and ‘Warpaint’, it falls over into indie generic, so here’s hoping they stick to the more experimental vibes of the title track and ‘The Long Fall’. http://therocker65.wordpress.com/2013/06/17/singles-bar-jimmy-davis-vs-johnny-hates-jazz-vs-lemon-vs-kung-fu-academy-vs-deep-purple/

Judging only from band name and EP title, this neatly packaged piece of music is promising a whole lot of indie fun, and also quite possibly trouble. The Edinburgh four-piece that brought you Dirty Honey way back in 2011 are following up one success with another, and doing it beautifully with a kung fu kick in the face. This is the band that makes grunge funk not nearly as awful as as it sounds. The instant appeal of Dirty Honey can be traced to its obvious homemade, jamming-out-in-the-garage sort of sound. It feels hearty, handcrafted, if somewhat unpolished; or, like the polish has sure been smeared on but the edges are still untrimmed and ragged. With Super 8 Flashback it’s clear Kung Fu Academy have grown and gained both experience and confidence through the last two years of touring. Being the band that claims to have played more gigs than rehearsals, they’ve effectively made a name for themselves by having a distinct live sound that echoes well, even on record. Having the debut played through headphones could easily make it feel like you were having the band play right there in your living room. The difference with Super 8 Flashback is it now feels less like the band are jamming out just off behind you, and more like being stood in the front-row, staring them right in the face and having live sound wash over you. Super 8 Flashback is a concert happening in real time. And it sounds like, well, a bit of everything. Not exactly known for being tied down to a single genre of music, Kung Fu Academy are happily playing around with sleazy rock as well as eighties disco. It’s a juxtaposition of dirty, gritty guitars and smooth funk well beyond the band’s years, like a combination of your dad’s record collection and the sort of stuff you’ll find on an up-to-date NME mixtape. ‘Sally’ comes at you with a wall of clean, heavy guitar strokes that would make you dribble if you lacked the self control; the title track is gleaming of indie nostalgia with a new, intense depth; and timeless ‘The Long Fall’ with its air of fast-paced mystery resonating bands like Franz Ferdinand and Casual Sex bears witness that the band is destined for great things. It still sounds a bit ragged and handcrafted in places, yes, but it’s also enormously honest. Kung Fu Academy hosts an eclectic musical pallet, and they know how best to use it. Already oozing with the qualities of a classic, it’s sometimes hard to believe this is fresh off the press. It isn’t history in the making, it’s history made future. http://ravechild.co.uk/2013/07/02/record-review-kung-fu-academy-super-8-flashback-whimsical/





EMPORIUM - 'The Umbrella Shop' single and 'From Another Planet' album (Whimsical EMPS8 and EMPCD5)

REVIEWS:

*** Singles of the Week *** Sounding not unlike something that might soundtrack a TV documentary about '90s Brit-pop - St. Etienne would, of course, curate the thing - Emporium's rather gorgeous ability to craft perfectly-honed melodies is certainly not in doubt with this - it's bloody lush. "The Umbrella Shop" (26th Mar - 4.5 stars) is a little bit Pulp (early), a little bit Cherry Ghost with a slice of Cud and a topping of Super Furry Animals. And that's all good. Very good. (4.5 out of 5) http://www.allgigs.co.uk/view/review/6199/_Singles_Roundup_Featuring_Phantom_Limb_Emporium_Allo_Darlin_Tom_Williams_And_The_Boat_And_More_Singles_Review.html

BAND FAILING TO SOUND LIKE SOMEONE ELSE You have to bear in mind that Emporium are a band who've been active for fourteen years and they now sound like, well, they sound like Emporium. For the object of this particular exercise I can suggest that sounds like Alan Parsons Project and The Idle Race are in there, but 'Umbrella Shop' is really the sound of Emporium in full, shifting, tinkling, drifting, psyche guitar studded mode. IS IT ANY GOOD? It's lovely, Emporium are lovely, you are lovely, buy the lovely record. http://www.unpeeled.net/singles.html

EMPORIUM - ‘The Umbrella Shop’/ ‘She Won’t Come Out To Play’, Single Beautifully sumptuous sounds, evocative, tender piano paints prettily sparkling motif, mellow bass, steely guitar, orchestral strings and brass, storyteller, choir boy, honeyed vocal whispers warmly illuminated night time tale, washed by gentle chorus, woven seamlessly together into atmospheric epic of gas lit London. ‘She Won’t Come Out To Play’, similarly fully orchestrated and chorused, swings between sunny optimism and melancholic, despondent undertow, maudlin vocal describing sad tale of girl who just can’t face the day. Both pieces, not structured songs, more sung narrative than poetically lyrical, melodically meandering, descriptive instrumentation, drawing on Classical idioms, showcase and support the star voice and its tale, could be from a, as yet unwritten, Musical score. http://www.mudkiss.com/chumkimarch12.htm

Scottish band Emporium kept layered progressive psychedelic pop harmonies alive, releasing a a string of albums and a couple of singles that garnered them rave reviews form the cognoscenti. The trio was basically a studio band, although they did tour for a bit in 1998. The band dropped from the radar in 2007 only to surface again in 2011 with the new album Silver Brainwaves. This year year has brought two new tracks so far: Mindbender and The Umbrella Shop (which will be released a single). The 17 track collection From Another Planet - The Best Of Emporium (1998-2011) on Whimsical Records serves as handy introduction for newbies. Long time fans can plug the holes in their collection with the rare remixes and one-offs. It's hard to pigeonhole their sound, bur think the poppy songs of Pink Floyd ca. 1970 mixed with Beach Boys orchestral inklings dipped in Zombies-alike Odessey and Oracle melancholy. Lead singer Ewan McKenzie falsetto gives their songs a pastoral quality that will go down well while lounging on lazy Sunday afternoon (or any other day of the week). Best enjoyed with a bottle of good wine and a basket of tasty tidbits. http://blogger.xs4all.nl/werksman/archive/2012/03/08/744109.aspx

For some reason I started off by listening to the latest single release, “The Umbrella Shop”. Described in Scotland’s premier tabloid as “a psychedelic cross between The Small Faces and The Beach Boys”. And for a second I glanced at the calendar and clock to see if time had stopped somewhere in the 60′s. Emporium produce a retro-pop sound of sweet harmonies and melodies sung over luscious piano, string and horn arrangements, that are almost impossible to find in today’s music which is primarily constructed by loops, samples and beats. They seem to have captured the essence of world renowned pop music composer, Burt Bacharach’s timeless music pieces, which were characterized by unusual chord progressions, striking syncopated rhythmic patterns, irregular phrasing, frequent modulation, and odd, changing meters. Throw-in a vocal style which ranges from 60′s bands like the “Beach Boys” or “The Turtles” through to latter day acts like “Soft Cell” or even “OMD”. Plus add some Brit synth-pop rhythms, et voilà, ladies and gentleman you have Emporium! Album highlights include, the watercolored harmonies of “Mindbender”, the beat momentum of “Wasted” and the slower, ethereal lead vocal of “Dice Man”. My personal favorite track is the haunting “Mind Games”, while other tracks of particular note are “Elevate” and “She Won’t Come Out To Play”. Seventeen tracks, is a lot of music and I could write page after page describing it, but music needs to be listened to. Needless to say, if you’ve experienced the 60′s musical era you would need no introduction to this album at all, and only have to enjoy it’s nostalgic karma. However, if you, like many of our younger readers, belong to the new beat generation, my best suggestion would be to get over to the “EMPORIUM” website straight away and savor the sounds of their timeless melodies, set within a genre long gone by, and all but lost to modern music. If not for the stoic and solitary efforts of Scottish band EMPORIUM. http://jamsphere.com/newreleases/emporium-from-another-planet-the-best-of

A 14 year anniversary? There seems to be no suggestion for a gift between tin at ten years and crystal at 15 years – perhaps that’s why the vocals gloriously meander around like a lost sheep inside the slightly proggy, psychedelic musical musings of ‘The Umbrella Shop’. Quite strange but not totally unendearing either. 6/10 http://www.tastyfanzine.org.uk/singles120mar12.htm#Emporium

Hailing from Edinburgh, Scotland - Emporium have just released "From Another Planet - The Best Of Emporium (1998-2011)", a compilation of songs by the Scottish combo containing 17 tracks. The band has gained a great reputation in the United Kingdom (also covered in world-famous publications such as the NME) because of their very unique sound formula: beat pop (think The Small Faces and Beach Boys) with a psychedelic twist and very interesting arrangements. Since the very first opening notes, the listener is brought hand in hand into a journey through the songs - the tunes build a very peculiar and dreamy landscape with a very unique vibe that fascinates and intrigues greatly. Although the band proclaims 60s influences, an 80s touch is also intelligible, while a more modern approach to melody is part of the picture too, infusing the music with great personality. A superb testimony of over 14 years of music! http://hectorvex.blogspot.co.uk

This is like Teenage Fanclub, They Might Be Giants, and The Beach Boys, and a sprinkle of the Pet Shop Boys. I really like it. The music sort of reminds of children’s television shows, but morose. I don't know if its my aforementioned love of Scottish indie that makes me like it (although I don't think that it would work if Mumford and Sons had Scottish accents). This is good well crafted indie pop, and much better than the artwork makes it look. http://www.collective-zine.co.uk/reviews/?id=8473

Edinburgh, Scotland-based whimsical pop trio Emporium, celebrate their 14 years of being together by releasing this compilation of seventeen-songs. They also added a new track into the mix, entitled The Umbrella Shop. [Check out the music video here.] Their vintage-esque sound reminds me of a mix of a more-psychedelic version of The Sea and Cake, with hints of The Catherine Wheel, Pink Floyd and Depeche Mode. http://whisker-a-nogo.tumblr.com/post/21254678771/emporium



EMPORIUM - 'The Afterlife' (CD and Download album on Whimsical Records EMPCD6)

On listening to The Afterlife, I’m not sure whether we are in the 60′s, 80′s, 90′s or the 2000′s. Emporium draw from an enormous bucket of influences. At times I hear The Walker Brothers or Paul Weller’s Style Council, then maybe Julian Cope’s The Teardrop Explodes or The Housemartins and even traces of The Beach Boys. It’s sixties, its Britpop, its post-punk, its mod, its new romantic…the only thing for sure is, its indie. This is without a shadow of a doubt a fine album. Lyrically it holds its own, rich with feeling, and its upfront, self-confessional honesty, is inspiring and reaches elevated heights both artistically and emotionally. The songs are beautiful and the singing and harmonies on the album are superb. Standouts are the album opener “The Afterlife,” the languid ballad “Bluebell Wood,” the track “Magical Things,” “Beautiful Insanity(Don’t Fit In)” and the piano-driven “The Umbrella Shop.” Music, like all art, is a medium of communication and never has communication been more pure and enlightening than this. The lush, melodic sound of this album is so rich and entrenched that it seeps into the soul of the listener. “The Afterlife“ which is a colourful collection of largely nostalgic sounding songs, in my opinion has many surprises, curious tangents as well as both soul and beauty in abundance. Tracks that re-treat older ground with a fresh new view. Like a lot of timeless music, it sounds deceptively simple at first but hides a musical complexity which gently unfolds as much as you, the listener, let’s it. Emporium bring superlative mid-sixties pop, fast forward and straight into today. They migrate a mix of Burt Bacharach and Phil Spector sounding orchestrations into now, and throw in their swirling vocal harmonies to match. “The Afterlife” is a different kind of album, unlike most you’re currently likely to hear, and through it, Emporium transport our musical nostalgia into the future. Rick Jamm http://jamsphere.com/newreleases/emporium-upcoming-album-release-the-afterlife

Hailing from Edinburgh, Emporium started out in 1999 with their debut album "A Fine Fine Line". Going on to release several albums and numerous singles, they show no signs of slowing down as we dive into a new decade of the 21st century, crafting a brand new album, "The Afterlife". Emporium bring back their signature tunes, drenched deep into a pool of influences that encompass the past decades of music, from the gripping melodies of British invasion pop to garage rock grit and 70s psychedelic trips. Think Pink Floyd and Genesis meeting half way with the Beatles and The Zombies, and you start to have a great hint of where the sound of the band is headed, but it doesn't stop there, and this record is far from being an operation to cash in on nostalgia. The band does not only demonstrate these influences with their own unique personality, but they bring them up to date with our age, "upgrading" the vintage vibe with a massive, wide soundscape. http://www.hellhoundmusic.com/emporiums-journey-towards-the-afterlife-review-by-andrea-caccese

Edinburgh based Emporium have been on the go since the late nineties, when they put out their first album, "A Fine Fine Line". It's been a bit stop and start since then, but here there are with another fine batch of sixties tinged pop songs. It's the kind of rosy, psychedelic tinged material that delights fans of XTX and Garfields Birthday, with nods back to the harmonies of folks like the Beach Boys. In fact, it's the harmonies that really make this album as even on a couple of the lesser songs, they pull things right round. Add is some excellent arrangements and orchestrations, and it always ends up listenable. However, when the songs live up to the harmonies and the arrangements as they do on the title track, the fabulous ballad, 'Bluebell Wood' and the single, 'The Umbrella Shop', it really is a delight. They avoid most of the pitfalls of the indie scene by remembering that writing good songs and singing them well is what makes a record. http://s14.zetaboards.com/Zeitgeist/topic/6715697/1/

This is a band that isn't "happening", hip or otherwise. Longevity is the keyword here, a band carving a niche outside the mainstream with layered songs about going nuts in a gentle way (Mindbender) and being afraid to go to sleep (Magical Things). The Afterlife might not be skyscraper, but it is built to last. Emporium is waving the flag of smart pop. http://blogger.xs4all.nl/werksman/archive/2013/01/02/801734.aspx

HMM, SEMINAL ECTOPLASMPIC PUDDING EMPORIUM "THE AFTERLIFE" (WHIMSICAL RECORDS) RELEASED? Out now. SOUNDS LIKE? Is a question that has more answers than either of us would like and without being even lazier than usual, I can tell you most of what you need to know about Emporium by saying that top notch, eccentric, pop and pomp-pop and dance-pop and quirko-pop all co-exist in the weirdly coherent and consistent sound that is Emporium. Of course, Emporium would probably hate the idea of being consistent, even when placed near the word 'excellent', but screw 'em, I've already spunked a weeks worth of hypens on one sentence. IS IT ANY GOOD? Please listen to them, Emporium are very, very good, I even looked up how to spell 'seminal' and they've split up now, so even more seminal. http://www.unpeeled.net/albums.html

Scottish band Emporium, who announced their break-up in December, have left us with a final album, ‘The Afterlife’, which was put together by the band's lead singer Ewan McKenzie. The songs for the album were written and recorded between 2010 and 2012, and after they released a compilation record, 'From Another Planet - The Best of Emporium', in the spring of last year. They relive the 70’s psychedelic voyages of their past on ‘The Afterlife’, but it is immersed in a sea of other influences as well us that includes Britpop and garage rock and also throws in various 80's synthesiser melodies from decades gone by. Originally formed as a three-piece in Edinburgh in January 1998, Emporium released their first album, which was made largely from home recordings and entitled 'A Fine Fine Line' later that year, but they chose to remain studio-based for most of the years that followed that. They have released various other recordings, including critically acclaimed albums such as 'It's the Thought that Gets You High', 'Hallucinations' and 'Silver Brainwaves' On first listening, I couldn't fathom out where we were musically. Were we in the 60’s, 70’s 80’s, 90’s or noughties? The sound was so diverse, yet held together quite nicely with spatterings of Spector’s wall of sound or a smidgen of Weller or a trickle elsewhere of 80's electronic bands such as Blancmange or OMD. Wherever they gleaned their music from, it certainly takes its roots from the 60’s and Britpop, but it also had its feet wading in the New Wave and Futuristic movements. The album itself won’t break any records, but don't get me wrong here. This is an album you will keep coming back to again and again as its lyrics and themes are totally addictive. Despite all their retro influences, ‘The Afterlife’ is very much about the feelings of today. Many a time I (and perhaps you as well) have thought I was going off the path a little and starting to go a bit crazy, and the piano-driven 'Mindbender' nails that feeling for me with its lines of "Making me think/I'm trying not to break/ In case you crawl beneath my skin." The message of the synth-laden title track is brought home from the start with a distorted answer phone message at its beginning - "Welcome to the afterlife/Life has flashed before your eyes." The simple things we all suffer from time to time like suddenly wanting to just go to sleep sometimes and not knowing why is brought to life on 'Magical Things'. Other standout tracks include 'Umbrella Shop' and the short but enthralling dreamscape instrumental, ‘Return of the Lost Tribe'. While they may not break any records with ‘The Afterlife’, it should however raise a few eyebrows with the critics and pick up some more well-earned final applause for Emporium. And quite rightly too.... http://www.pennyblackmusic.co.uk/MagSitePages/Review.aspx?id=8831

LLOYD JAMES FAY - 'The Black River Chronicles' (CD and Download Album on Platform Records FORMCD5)

It is precisely his lack of sneering superiority that makes “The Black River Chronicles” such a treat. The lengthy, poem-like songs, the complex instrumental arrangements and daunting folk- pop structures could all have turned into an ego-trip gone wild. But that doesn’t happen. Instead, we are treated to a collection of songs so delicately fresh and honest; I hardly know where to start. From the sweet quietness of the opening number “Among The Reeds”, to the acoustic-guitar picking of the “Unwanted Children” that follows, you get a glimpse of what will unfold. Imagery follows tone follows place follows events, both personal and social in a seamless fashion. By the time we are through with “ Such Are Memories”, the third track, Fay has already taken us through a small symphony of experiences. The pensive mood is further enhanced with “From The Eyewall”, a love song that reflects on Fay’s first love and all the drama that went with it. If this one doesn’t make you choke a little, check your pulse as Fay draws your attention to the flaws in every heart. Each song is presented so compassionately and with such openness that it is frankly above criticism and simply becomes a part of the undeniably intense listening experience. Whatever truths and doubts Fay sings about, are absorbed almost automatically by the listener, whether or not the lyrics have been clearly understood. At every verse, bridge or chorus, you always understand what he means perfectly, by just feeling his music. I could continue endlessly, but really I would rather, that people simply listen to this album all the way through…carefully. Good headphones would be preferable for this album. To shuffle the songs or pick out a few is almost a crime; the “The Black River Chronicles” is a complete work of astonishing depth, somewhat melancholy but never depressing. It demands to be heard in sequence, in its entirety. The songs flow into one another and the work is a singular one, not a bunch of tracks assembled and released. The more you get into the lyrics on “The Black River Chronicles “, the more you want to know about the stories behind them too. Call it hypnotically engaging, because of its layer upon layer of organic sound or because of the picturesque poetry, either way Lloyd James Fay has completed an introspective voyage of immense proportions that you’ll find very hard to resist. http://jamsphere.com/newreleases/lloyd-james-fay-the-black-river-chronicles-an-introspective-voyage-of-immense-proportions

With his inspirations including Simon & Garfunkel, James Taylor, Mark Kozelek as well as Nirvana (specifically Unplugged In New York), Lloyd James Fay has a wealth of talent to draw from and his music, although clearly inspired by the named artists, has a unique, soothing quality of its own. The album was recorded in 2012 at the infamous Gargleblast Studios in Hamilton with Andy Miller, whose credits includes albums by Mogwai, Arab Strap, De Rosa and Martin John Henry. Released with much praise on April 1, 2013 via Platform Records, the first single from the album ‘From The Eyewall’ is being released on 10th June 2013. The album title is a reference to the American Midwestern location of Michael Lesley’s ‘Wisconsin Death Trip’, which explores the psychological effect of life in Black River Falls through photographs and newspaper cuttings, whereas the album itself aspires to replicate the honest emotional style of Mark Kozelek (Red House Painters) with the composed minor key melodies of the talented James Taylor. As an album, Fay has produced an ambient tranquil sound, with intricate guitar playing to support well-balanced vocals. A range of other instruments soar in and out of his pieces, played by Fay himself, demonstrating his musicianship. Akin to flicking through sepia photographs or a breezy beach on a sunny day, the album is atmospheric, sending the listener through a journey of nostalgia. Described as, “an introspective reflection of his formative years, childhood stories and forlorn first loves in suburban Lanarkshire’s creaking post-steel-industry suburbs,” the album serves not only to depict Fay’s own experiences but to allow the listener to explore their own; each song is filled with contemplative sentimentality with an equanimity that steers it away from sadness. It is no wonder then that this album is already proving to be a hit with reviews exclaiming Fay’s success. Opening with two serene numbers, ‘Among the Reeds’ and ‘Unwanted Children’ are beauty distilled in music form. With unassuming yet deft playing, Fay’s voice grows throughout the songs with the moving lyrics echoing in the listeners’ emotional response to the tracks. The next tracks on the album, ‘Such are Memories’ and ‘Clouds Take Shape’, are relatively more upbeat with stronger guitar and yet still in keeping with Fay’s lulling sound. Transporting you to a solace, these two tracks are songs of yearning with poignant lyrics: “and if you want to meet again, I will gladly.” Midway through the album we hear the lead single, ‘From the Eyewall’; an intermingling of arpeggiated accompaniment and harmonious vocals, with distortion adding an extra breadth to this piece. Fay’s voice, an oxymoronic soft-growl, rings through the piece with harmonies blending stunningly. A heartfelt ballad exploring his first love, the sheer calmness of the piece and sentimental longing of the lyrics are striking; an earnest and warming piece of meditative remembrance. By this point in the album and halfway through the journey, it is striking how alike a Bildungsroman this album is with Fay exploring his own ideas, memories, experiences, flaws … the listeners learning with him as the album progresses. Packshot‘Burning Wood’ (the sixth track on the album) completely transports the listener to another place entirely, with a jazzy feel to the guitar playing. This acoustic track proves as an introduction to a new move in the album: ‘Halloween’, a darker piece with haunting; the sombre ‘Snowglobe’, written in the second person with the direct addresses leading the listener into the narrative; and ‘Palomino’ returning the album to its original equanimity. Ending the album is ‘Joy Thief’, another dexterous, beautifully sung number with a feel-good wistfulness to it. This is the climax of the album, a catharsis as Fay emotionally exposes himself to the listener. There’s an exquisite vulnerability to this song and it is a suitably thought-provoking piece to end such a well-crafted album. This is an album that explores the complexities of human emotion; a thoughtful, intelligent and contemplative collection that clearly displays Fay’s natural talent for capturing the human heart in an embrace. Congratulations to Fay for composing not only beautiful music, but an examination of emotional and spiritual lives in a modern world. http://secretsoundsuk.wordpress.com/2013/06/04/the-black-river-chronicles-by-lloyd-james-fay-album-review/



NATASHA ENGLAND - 'CAPTURED (DELUXE EDITION)' - 26 track download album (Platform FORMDDLP2)

Natasha England is ready to release her digitally mastered version of 1982′s “Captured.” Listening to the 12-track album, confirms that it has stood the test of time remarkably well. It’s pretty obvious that the production reeks strongly of the 80′s, but its exactly that retro sound, which gives the album its endearing twist, besides the passionate performances by Natasha, of course. Somewhere between Annie Lennox and Debbie Harry. On “Captured,” the diva-like Natasha, weaves an array of colors, moods and emotions. Whether she drops to a soft whisper or just plain belts it out, you’ll love every song. Like for example her interpretation of The Kinks `All Day And All Of The Night’ and Sam Cooke’s `Bring It On Home’, or my personal favorite, “Sally Go ‘Round The Roses,” the 1963 hit, first made famous by The Jaynetts and covered quite a few times down the line. Yet its not just about her interpretation of the covers, which by all means is impressive enough, but also the five tracks she either wrote or co-wrote, confirming the fact that she is a complete artist in every sense. The truth is Natasha England still sounds as good today as she did 30 years ago, and it is certainly heartening to know that any day she decides to step into the recording studio, she’ll be able to delight her fans and the world with her words and melody, as she always has done. All in all, “Captured” is a terrific release by one of the most dynamic and interesting artists from the eighties and is no less provocative than it was on its original release date, indeed some of the songs will still smack you right between the eyes with a force and power that comes from a long way back. Besides her undeniable artistic prowess, Natasha has always had the cream of the musical crop, on her crew and in her backing band. “Captured” is no exception to the rule. http://jamsphere.com/newreleases/natasha-england-captured-digitally-mastered-version-out-14th-january



SUSAN FASSBENDER and KAY RUSSELL - 'Twilight Cafe - The Demo Collection (1981-1985) - 20 track download album (Platform FORMDDLP1)

There was a time back in the early eighties when Susan Fassbender and her band seemed to be all over the television. Apart from appearances on ‘Top Of The Pops’ promoting the only one of her songs that saw any chart action, Susan also appeared on Saturday morning programmes like ‘Multi-Coloured Swap Shop’ and ‘Cheggers Plays Pop’. In reality Fassbender probably didn’t appear on television as much as the passing of time playing tricks on our memories fools us into thinking she did, but for a short while there it did feel like her band was a fixture on the kids’ programmes of the day.

Apart from the fact that the songs Fassbender wrote with her songwriting partner and guitarist Kay Russell were extremely catchy pop songs that were impossible to ignore, maybe another reason that they were regulars on the box is that they always appeared to be enjoying performing. Kay Russell’s infectious smile alone made it difficult not to stop whatever else you were doing at the time and to give the band your full attention.

Fassbender studied classical piano and clarinet from the age of thirteen, and eventually started writing songs with her friend Kay Russell. As Kay recently told Pennyblackmusic, “We were mates in Bradford, where we both lived, and both were unemployed. Once I heard Susan play the piano, I thought we could work together, so I suggested it, and then I formed a band around us.”

The first released fruit of this collaboration turned out to be the only time either Susan or Kay would trouble the (all important back then) Top 20. ‘Twilight Café’ hit the charts in January 1981 and stayed there for eight weeks, eventually peaking at number twenty-one. Strangely the single was credited solely to Fassbender. The reason why Kay was only credited as a co-writer and not a performer has been a mystery for many years now, so it’s right that Kay can shed light on why this happened.

“The record company thought ‘Fassbender’ was a memorable name, so we went with it,” Kay explained to us. “The second single ‘Stay’ came out as ‘Fassbender Russell’ but then the record company said that name sounded like kitchen equipment so we reverted to ‘Susan Fassbender’ for the third single ‘Merry Go Round’, although the sleeve also states ‘featuring the Fassbender/Russell band.”

After ‘Twilight Café’ disappeared from the charts it was followed by the no less catchy and reggae-influenced ‘Stay’, and given its good-time feel the song suited the happy image the band displayed on their television performances. It is a mystery why this song which was, and still is, the equal of ‘Twilight Café’ never made any impression on the UK charts. Again it’s classy, catchy pop music and deserved more attention.

Susan and Kay tried to recapture some of the first single’s success with ‘Merry-Go-Round’, which was even more radio-friendly and appealing than those previous two singles. Again the single failed to make any impression despite television appearances and the fact that the song was impossible to ignore. Kay wrote the music for all three singles: “We wrote inspirationally; occasionally one of us would have more input than the other-either musically or lyrically. The music for the three singles is mainly mine.”

After the chart failure of the last two singles Fassbender and Russell seemed to disappear from the music scene, but as Kay explains that wasn’t really the case. “We didn’t leave the business. The band was split up by our second manager who thought Susan would be more successful as a solo artist, with his own session musicians backing her of course!” But demos were made with a view to releasing them as an album at the time.

In these days of downloads and music being available with a single click, many people forget or just don’t understand how important chart positions were back in the eighties. There was no internet to enable musicians to build up a following and get their music out there; it was all down to the record labels. No chart action meant no releases, simple as that. So three decades after they were recorded, Platform Records have assembled a collection of fifteen songs that were intended for the Fassbender / Russell album that never was.

“The second two singles didn’t achieve enough chart success, so the proposed album never came out onto the market,” Kay reflects today. It’s taken a long time for these songs, which are presented in their original demo form, to get a general release, and it’s partly through Kay’s hard work and belief in the songs that Platform Records are releasing a download of not only the Fassbender / Russell demos but also of five Kay Russell solo tracks.

There has always been interest from fans who wanted more after those three 45s but it seemed unlikely that any more would be heard from Fassbender/Russell. Thankfully, however, the internet helped, “I investigated YouTube about two to three years ago,” remembers Kay, “and discovered the interest from fans. This motivated me to try again. I had a lot of material and had it digitally re-mastered as far as possible and sent it to a publisher in Edinburgh (Platform Songs-MC). They chose what they thought would be a good mixture, and I think they’ve made a good decision about which tracks are included and also the order in which they appear on the album.”

‘The Demo Collection 1981-1985’, kicks off with the original demo of ‘Twilight Café’ and, although obviously not as polished as the version that hit the charts, there is still no doubt as to why this song gained so much attention back then. Like most of the band’s songs the track is dominated by Susan’s keyboards and Kay’s guitar. Watching the girls on television way back then must have taken some attention away from their vocal performances. The fact is, even on a demo of this standard, both Fassbender and Russell were not given credit at the time for just how strong they were vocally.

‘Lies’, which is the second track on this compilation, shows a side to the girls that was never revealed on the singles. It is an atmospheric piece which, if released at the time of recording, would have ensured a longer and more fruitful musical career for both Susan and Kay. It is just one indication that the duo was not given the credibility they deserved. Kay’s not so sure that’s the case, “Credibility is subjective,” she says today. “I did once meet a Manic Street Preachers fan who expressed the opinion that we were before our time!”

Most of the songs on this collection obviously have a slightly dated sound to them, but it’s not as distracting as you might think. Given a contemporary production many of these songs would sound even better than they do in this form. Kay agrees with this. “I think a few could be updated or covered by other younger artists or bands,” she responded when asked if she would like to revisit or change any of these songs.

But the biggest surprise is not that a collection of thirty year old demos reveals another side to this band, or that somehow the vocals that they laid down then have only just shown that both Fassbender and Russell were exceptional singers. It is the five Kay Russell solo tracks that even most fans didn’t know existed that are worth the price of admission on their own.

‘Matter of Time’ is the first solo Russell song that we hear and, although there are obvious hints of the duo’s work in there, there is a harder, funkier edge to this song than those recorded by Fassbender and Russell together. It’s more than impressive and displays Kay’s knack of writing memorable melodies perfectly while taking her into new territory. It also includes a scorching guitar solo. While Kay’s other solo cuts here like ‘Crisis’ and ‘Too Crazy’ slot in perfectly with her work with Susan, it is ‘Matter of Time’ and ‘Yesterday’s Hero’ which stand out. The latter really could be lifted off this album and released as a single today, and be successful with barely any changes.

The collection closes with ‘Walking in Space’, another solo Kay song that once again proves that there’s much more to these girls than just catchy pop songs. Kay creates another atmospheric pop song, full of hooks but never sounding lightweight or banal.

Surely an artist who could create such affecting music must still be writing? “I have some demos which remain on cassette tape, not mastered, as yet,” explained Kay before going on to explain that she is still writing. “I definitely would release new material but would prefer some younger people to record and perform it. Not everybody wants to go back on stage at 60 years old!”

For a collection of thirty-year-old demos ‘Twilight Café’ leaves a lot of contemporary albums in the shade. It is going to appeal to a much wider audience than just those fans who remember Susan Fassbender and Kay Russell fondly from those three singles and their television appearances. The twenty songs available for download will not only attract the attention of eighties’ music fans, but of those who like their pop music, especially when sung by females, with a little more depth and edge.

Although, hopefully, we will hear more from Kay Russell in the future, it appears that this fine collection will probably be the last opportunity we will have of hearing the music that Susan Fassbender made. Susan committed suicide in 1991, but after the band broke up it appears that she did continue writing and during the time between the break-up there was contact between the two friends before Susan’s passing.

Kay explained what happen after the band folded: “Susan and I both got married. We worked separately at this time, only getting together, rarely, for a chat. I didn’t get a chance to hear what she wrote during that period, but she heard the songs I’d written alone, and with one or two other songwriters. Her favourite was ‘Walking in Space’. Around 1983, I think it was, we did compose together again in a small studio in Nottingham, but nothing much came of this, and the songs never got beyond guitar, keyboards, drum machine and vocals. ‘Now You’re Gone’ is one of the songs from this period included on the ‘Demo Collection’.”

One of the biggest surprises of the year so far, this collection of demos has a lingering quality that keeps drawing you back to listen over and over again. It is not just the immediate attraction of the three singles, but each and every one of these tracks has something to offer. Fassbender and Russell wrote and performed pop songs with substance that will still stand up in another thirty years. While the songs in this demo form at times do sound like they belong to the decade that they were recorded in, the melodies and vocals are timeless.

‘Twilight Café (The Demo Collection 1981-1985)’ is the best set of demos you are likely to hear all year. In fact forget the demo part. It is one of the best collection of songs you will hear all year. http://www.pennyblackmusic.co.uk/MagSitePages/Article.aspx?id=6451



Susan Fassbender's classic hit single 'Twilight Cafe' should have been the springboard to a successful chart career. Chock full of memorable melodic Pop Rock with superb keyboard work it bounced into the charts in February1981 and promised much for her career. Unfortunately two equally infectious follow up singles, both issued as Fassbender-Russell with her songwriting partner Kay Russell, failed to chart and a mooted album never materialised. Sadly, the Yorkshire born musician took her own life in 1991 but thanks to Kay Russell this collection of cassette tape demo's has been cleaned up and transferred to digital and remain as fresh, sparkling and easy on the ear as the day they were committed to tape ensuring that her legacy lives on. This may be on the lighter side of Rock but this does not detract from what is a fine collection of radio friendly Pop Rock. Classic Rock Society Magazine - July/August 2012