The Coral Interview

The Coral have just released their seventh studio album and are midway through their UK tour. The band have been on quite a journey since they first started out in 1996.They received critical acclaim for their first album, had a crucial member leave and had a period away from making music. They have now returned, stronger and more focused than ever, original line up reinstated and ready to get the music world talking again

What do you prefer writing and recording an album or touring?

I like it all, like anything really, too much of it can be enough. When you come to the end of an album or tour you’re knackered but it’s great, it’s why you do it really. I appreciate live more now, you can’t download it, you can’t cheat; it just is what it is.

How do you feel about downloading and distributing music for free?

Well you know I don’t mind it, its ok if you want my music but we don’t really make our money from records, its all made from live gigs. In a way you don’t know how many people have got your music and it’s hard to keep track of it. My only problem with it is that I want people to hear the music in the quality we have recorded it, we recorded it like that for a reason and I don’t want people to hear a downsized version of it, that’s more what bothers me. I just want everyone to hear it in the real quality it deserves or there is no point in going to all the effort to make it sound great.

Ellie Goulding at Leeds O2 Academy - 2nd Nov 2010

The gig starts off explosively with Ellie Goulding’s debut single ‘Under the Sheets’ forcing everyone’s attention to the stage. She appears statuesque in a military jacket and starts pounding on the drums for a few bars before taking her rightful place at the front of stage. A screen stretching the whole of the back wall is alight with a ‘wall of fire’ effect, adding to the mystical feel. She has a powerful voice with an ethereal eminence; a twist of Cyndi Lauper makes her tracks instantly recognisable.

Carl Barât at The Cockpit - 22nd Oct 2010

Carl Barât first blasted onto the musical radar as co-front man of The Libertines, a band who’s performances where as energetic and angst filled as their songs. When The Libertines spilt, Pete Doherty went on to incite fame through court appearances and rehab, leaving Carl Barât to enjoy critical acclaim with Dirty Pretty Things.  The group however dispersed after a few years and Barat declared he had ‘had it with bands’. A bout of severe depression and an operation to remove a benign tumour (which left him partially deaf) followed. For most people it might have been enough to have them turn their back on the music industry altogether but it seems Barât was determined to come back fighting.

Island Life Tour at The Venue - 7th Oct 2010

Students at Leeds College of Music got a real treat when Island Records latest signings came to the College to perform and answer some questions. Unfortunately Tinashe wasn’t able to make it due to a blown tire, which is a shame as having a quick listen on his Myspace he has seriously funky sound, part Plan B, part Arctic Monkeys.

The Joy Formidable at The Cockpit - 6th Oct 2010

The stage setting gives little indication of the auditory attack that is about to happen when The Joy Formidable start their eagerly awaited set. A huge banner covers the whole of the back wall of the Cockpit Room 2 leaving no one in doubt of the main event for this evening. The stage is decorated with glowing orbs inside birdcages and creeping up the lead singers’ microphone stand and the crowed are piled into full capacity.

Cherry Ghost at The Brudenell - 5th Oct 2010

The Brudenell was the perfect choice of venue for this gig, intimate, unassuming and with fantastic acoustics. With the band so close you get a sense of accessibility missing in larger gigs, even after the gig the band even comes outside for some air, happily chat away to fans and graciously accept the thanks of the audience.

Charity Gig at Royal Park Cellars - 23rd Sept 2010

Starting off the night is Pippa Lloyd, who breezes onto the stage with an air of vulnerability about her. Once she starts playing she seems at ease, just her and her Takemine playing understated but beautiful songs. She has a powerful voice and her rendition of 'Feeling Good' is bittersweet and emotional. When you have such sparse acoustic music you are almost completely reliant on the vocals to the paint the picture and conjure up emotion, Pippa Llyod manages to do this in a poetic way. Her songs are full of heartbreak without being whiney, reflective without being self involved and bittersweet whilst remaining hopeful.

Paolo Nutini at Leeds O2 Academy - 2nd Sept 2010

Paolo Nutini slides on to the stage in blue turn-ups and a light, striped shirt and launches straight into his first song. There's no need to warm the crowd up as everyone was already fervently awaiting his arrival.



Paolo Nutini - Sunny Side Up

As Paolo has such an eclectic range of influences, it is no surprise that this album can't be neatly filed into one particular genre. The catchy pop hooks of the first album have been left behind and in its place is a mixture of heady blues, country, reggae and folk with the occasional jazz accessory thrown into the mix.

Artic Monkeys - Humbug

It's the tricky third album for the Arctic Monkeys, originally from Sheffield and an emblem of hope for unsigned bands everywhere. The band have already cemented their 'sound' and could quite easily have delivered an album of similar material to their first two and been guaranteed to please fans and critics alike. The brilliance is they have refused to be pigeonholed and released an album no one was expecting.

Three years on from the monumental success of their debut album 'Whatever People Say I Am, That's What I'm Not,' the Arctic Monkeys have decided to try on a darker, heavier sound. The band enlisted the help of Queens of the Stone Age frontman, Josh Homme, who produced seven of the ten tracks as part of his 'Desert Sessions.' Homme's influence can clearly be felt throughout the album; there is a ferocity and rebellion not present in previous material.

Matt Helders is an absolute machine on the drums, arguably one of the best drummers around. His pounding rhythms give a perfect backdrop for raging guitars and Alex Turner's haunting vocals. The guitars are more malicious, with a broader range of effects giving them a menacing quality. They twist and creep throughout the album, feeling more purposeful and confident. Jim Morrison style vocals amalgamate with Turner's witty observational lyrics to create ghostly choruses. Turner drools and plays with his words like The Doors lead singer, making him sound more established and less eager to please.

The stand out tracks are the first single 'Crying Lightning,' and 'Pretty Visitors' which are the two tracks to have successfully joined where the band have been to where the band are going. The second single 'Cornerstone', released in mid November, is tender yet emotive and another successful song.

What this album proves is that the Arctic Monkeys are maturing and exploring the depths of their musical contributions. Some of the ideas are part baked and most of the songs are pretty repetitive, but this album marks the step Arctic Monkeys are taking to ensure they rise above being an 'in' band to being one of the greats.

Cut Out Shapes - Sea of Tranquility

Cut Out Shapes are an amalgamation of several different Leeds bands that have come together to form a group in the hope to follow some of the recent success Leeds bands have been having of late. They are already signed to D.I Records, have played a host of gigs around Leeds and played on Alan Raw's radio show. Everything seems set in place to make a mark on the local scene, so how will their EP fair as an offering amongst all the other bands around?

Instantly you notice the howling vocals that have a harsh edge to them making interesting listening, verging on madness whilst staying in the realm of the sane. With Jack White's strangeness, Matt Bellamy's dark edge and Alex Turners accessibility. An exciting mix of qualities that make the tracks recognisable and not fade into the background.

There is a low-fi quality to the recordings, done by Will Jackson who recorded Pigeon Detectives, which gives them a relaxed feel. Amongst the gritty drums and bass there are enough sound effects and distortions to add an extra dimension and exuberance that urges you to want to see them live. The tracks are well written with some awesome drum fills and well paced so that the leg tap at the start of the song becomes a full on body shake.

'Sea of Tranquility' has to be my stand out track; guitars are unleashed in a 'These Crooked Vultures' pounding melody and the lead singer has eeriness that really works and makes the band stand out in the already brilliant Leeds music scene.

Piskie Sits - Churp Churp

The summer is slowly starting to look like it may happen, with bursts of morning sunshine making the hideous snow a distant memory. There are always certain songs that remind you of that feeling of sitting out in the sun, drink in hand and dreaming away the days with your ipod. Piskie Sits' first single, 'Churp Churp' off their forthcoming album is one of those songs. It has an instantly catchy bass line that is set to the right frequency to get your foot tapping along. It draws you into the song from the first couple of bars which is then met with a bouncy, effervescent electric guitar.

It is easy to see why comparisons have been drawn with Pavement; they provide the same antidote to the over processed and glossy pop songs that you would hear on Radio 1. Both lead singers have that lazy tone to their voice, which gives a natural quality absent in many polished recorded records. I don't mean lazy in a bad way, more effortless and true; I would imagine that Piskie Sits playing live sound identical to the recording.

'Churp Churp' is a catchy first single but not in an irritating "I just can't get this song out of my head" way. It begs to be sung along and danced along to and will get you wanting to go see them live.

Joshua Radin at Brudenell - 21st April 2010

The Staves were the first act of the night, three impossibly beautiful sisters who had a grace and tranquillity about them. They have a warm country tone to their voices and for just three girls and a guitar they captivated the audience wonderfully. Their angelic harmonies are perfectly matched to their emotional songs and folk sound.

Next up was the stunning Lissie who really was the surprise of the night. Out walks a freckled and petite blonde who looks like she would blow away in a strong gust of wind. As soon as she starts singing though, you get blown away by the power in her voice. A lovely southern accent plays over songs full of heartache and passion. Her songs are extremely catchy and full of dreamy imagery; country rock superbly executed and reminiscent of Bif Naked and The Sundays. I had to get a copy of the EP and have had 'Wedding Bells' on repeat since.

Joshua Radin enters to shouts of "I love you" and the girls around me are getting giggly and fidgety. Looking at his face it is easy to see why; he is extremely easy on the eyes and has a John Mayer look about him. Not only has he been blessed with model looks he also boasts a beautiful voice which is gorgeously soulful. At several points he steps away from the microphone and still manages to fill the room with his effervescent tones.

He is extremely funny and throughout his set chats to the audience like mates down at the local pub. His natural charisma shines through and so you can forgive him for constantly mentioning his ex-girlfriend. For a couple of his new songs he gets the audience to participate. Normally I am not a fan of these types of songs but on this occasion, with lyrics as evocative as his, you feel like you are a part of something special and it's a touching moment. The atmosphere at the Brudenell is always great and tonight is no exception. When you have the whole crown signing and clapping along, bonded together in a moment of musical bliss it is quite magical.

Good looks and humour aside, Joshua Radin has some great songs with tender lyrics and an accessibility that is easy to relate to. You get the sense that he is at his most truthful and sensitive when he is writing. A romantic and sentimental side contrasts with his confident and funny stage presence. He is joined on stage for quite a few of his songs by The Staves, sometimes all three and at others just one. For one duet, a glorious love song it reminds me of Johnny Cash and June Carter with a guitar solo that is Johnny B Goode good.

Anyone who watches Scrubs will already be familiar with his sound as he has featured heavily on the sound track. He saves the best track 'Closer' for last, although you get glimpses of it in the preceding songs. Joshua Radin has a great collection of songs, almost exclusively about love, full of poetic and potent imagery. Dreamy melodies and evocative drums dance along a light rock outline with a country backdrop.

Charlie Bath - In-between Happy and Me

'In Between Happy and Me' is Charlie Bath's debut album; written, self produced and released under her own record label Felt Heart Records. Well, you have to hand it to the girl; she is certainly showing determination in abundance. The result is an album that is drenched in so much emotion it practically weeps, heartbreak hangs on every chorus.

Starting off with 'All of me' an upbeat pop track with a powerful chorus that has you singing along on the first listen. Charlie's voice is beautifully matched to the bounding drums and upbeat guitar with an American pop feel. The lyrics describing the insurmountable feeling of being so in love it feels like your body is shutting down. Melancholy lyrics are twisted with emotional guitars.

Next up is 'How Wrong' an atmospheric track with a seductive quality as Charlie Bath's pure voice pours over the melodies. Delicate guitar sways gently in the background, allowing Charlie's voice to be fully captivating. Breathy, angelic tones float along the verses, and during the chorus elevate into a pleading crescendo.

If I hadn't known this was a Leeds artist I would have assumed it was an American release, Charlie even has a slight American twang in her voice. The track where this is most prevalent is 'Daylight.' A country driven track; the catchy chorus blends rocky electric guitars with a country tempo, to blistering results. There is a familiarity to the rifts that means it's instantly accessible and I find myself singing along without really knowing the words.

The duet with Mathew Kilford on 'On your own' provides a welcome new dimension and their voices are very well matched together. Sparse arrangement with just a spattering of acoustic guitar and piano provide the background for a touching duet about love never really attained.

Charlie wanted this album to have 'a big heart' and she has certainly managed that. There is a brutal truth as feelings of confusion, desperation, wanting and hope are eloquently narrated. It is exclusively an album full of introspection which is where the similarity lies with artists such as Joni Mitchell, although the imagery used isn't as creative and verges on the cliche.

Throughout the album, the production is executed to an exceptional standard. The songs are really well crafted, with text book song writing and a high standard of musicianship. Each song taken on its own is emotive, admirably crafted, interesting and introspective. As an album the theme gets slightly repetitive and the familiarity becomes slightly stale. It would elevate the album up a level if there was a little more poetry in the lyrics and creativity in the arrangements. As a debut album it is a really great achievement and considering the amount of work that must have been put in, Charlie Bath will be one to watch out for in the future.

Newton Faulkner at O2 Academy - 5th March 2010

There is a strange atmosphere as I enter the O2 for Newton Faulkner's sold out show, I can't pin point it but something isn't right. The place is packed out; up on the balcony the audience is slightly older than I would have imagined, mostly middle aged men in leather jackets and shaved heads, not that there is anything wrong with that, I just would have expected a few more dreads or trendy haircuts floating around the place.

Support comes in the shape of the very smartly dressed Charlie Winston and I am ashamed that I had absolutely no idea who he was until I googled his name after the gig. I take some solace from finding out that whilst Charlie has made quite a name for himself in Europe over here he is relatively unknown. It's an interesting mix of blues, folk, beat boxing and pop all rolled into an interesting performance. He has lovely natural voice and his tunes are catchy with the audience singing along and bobbing accordingly.

By the time Newton Faulkner comes on stage two women beside me are near hysterical, jumping up and down excitedly. At first I am worried he is going to do a Ray LaMontagne and not say a word to the audience but after a few strums he says hello and gets a great reception from the crowd. With Newton Faulkner it's really all about the finger work and use of the whole guitar, so it's a good job that a screen at the back of the stage shows close ups of his hands. Newton Faulkner's technical ability and creatively is enthralling to watch but so far I am having difficulty distinguishing one song from the next. All having a similar tempo and introspective lyrics tinged with bittersweet observations with an element of hope.

Faulkner explains that he is known for doing unorthodox cover versions in his set, as soon as he says that the audience start shouting out requests for him. He gives a couple of snippets of recent covers, You Spin Me Right Round originally by Dead or Alive, Blackstreets No Diggity before settling on Teardrops by Massive Attack. Faulkner has a searching voice and its interesting and captivating how he interprets and recreates the song.

When it gets to the time of playing his most recent single the crowd are singing along whole heartedly, you have to strain to make out Faulkner's voice as it has an earthy tone to it, which gets slightly lost in the combined efforts of the crowd. For most of his performance the crowd are singing along excitedly. Newton Faulkner's songs are very atmospheric with gloomy bass and wanting lyrics, at one point a women next to me starts crying and hugging her partner.

Constantly throughout his show the audience shout out to him, Newton is extremely quick and witty and jokes along, having a comic style somewhat reminiscent of Eddie Izzard. I find myself warming to him, he seems very humble and humorous. As an acoustic act it can be difficult to keep the audiences attention throughout and inject and element of showmanship. Faulkner manages to keep the audience fully participating throughout his set and at one point someone dressed as an alien comes on stage dancing providing comic relief. The addition of a cassette tape providing baking track was a brilliant touch, if not making me feel a little old and I am a sucker for the X factor style confetti which floated down in a multi coloured rain.

By the end of his set it's full on sing song mode, dividing the audience in half and getting them to sing along. Personally I find this sort of thing hideously embarrassing but I am obviously in the minority at this gig, as everyone else is having a go. The fans here are absolutely enthralled by Faulkner, when a couple of guys at the bar start to get rowdy and loud, unspoken and in unison several people turn around to tell them to be quiet.
Newton Faulkner's gig was perfect for anybody that wants to be an active part of the audience and likes the odd gimmick. His voice is lovely and earthy, suiting his style perfectly and I think at his best when he is really going for it. For me the best part was the eclectic range of covers, I think it can be genius when an artist or band puts a completely different meaning into an established song. Faulkner's version of Bohenmian Rhapsody is not far off and provided a brilliant ending to a great gig.

Liam Frost Interview

Three years after releasing his debut album, 'Show Me How the Spectres Dance' to critical success, Liam Frost has returned with 'We Ain't Got No Money, Honey, But We Got Rain', an album dominated by love songs, released late 2009.

Where are you now?

Sat in my flat, having just taken down my Christmas tree and put it outside for the council to take away...made a mess of the hallway and everything. Poor etiquette on my part.

What has been your best memory of 2009?

I think playing back in Manchester once I'd got the album out was really memorable. After a year of not knowing if the album would come out, to see a big local crowd singing along to all the new songs was really great.

Your first album was beautifully honest, is this album the same?

Of course, the entire thing has been written from experience. Not sure that I could sing the songs and mean it otherwise.

Do you find song writing therapeutic?

Yes I do, for the most part. Especially with those songs from the first album.

In 2007 you went to Greenland with Cape Farewell, how did you find that experience?

That voyage was probably one of the most trying, but ultimately fulfilling experiences that I've had to go through. There were periods (and you'll see this on the videos from the site) that I felt genuinely in danger, and to some extent feared for my life and those of the people around me. Once we got to Greenland all of that eased a little. It was really beautiful, the effect of climate change was very apparent up there, and quite shocking. I found it very inspiring.

You have been performing from a young age, if you could go back and give your young self some advice what would it be?

Focus! I still have to tell myself that numerous times, daily. I'm not the most prolific of songwriters, never have been. Although in some ways I'm quite glad that I'm not one of those people that claim to write 40 songs a week. You can guarantee 90% of those songs will be awful.

You have worked with some great producers (Danton Supple & Victor Van Vugt). Who would you like to work with in the future and why?

I also got to work with some of The Earlies in their studios for some of the second record. They're excellent people to be around, and would gladly record the next album with them. Danton or Victor would be fun as well actually. I really admire people like Ethan Johns, Rob Schnapf, Tom Rothrock and Mike Mogis for the various brilliant albums they've worked on. I could go on for a while with this!

Has the digital revolution in music affected you in any way?

I imagine it has, but I haven't really been aware of it...you just have to try and move along with these things and make it work for you. I've never been averse to filesharing or anything like that, but my fanbase is relatively small and I think that they're largely the kind of people that morally want to pay for things. I really appreciate that.

Your single with Martha Wainwright has had some great reviews, is there anyone else you would like to duet with and why?

I wrote the Martha duet with Ed Harcourt, and he sang some of the lines on the original demo. It'd be fun to do something with him. I love Emmy The Great a lot as well, I'd like to do something musical with her one day.

If you weren't a musician what would you be doing?

God knows, I've never wanted to do anything else. If I don't make a career of this I'm buggered!

Who has been your artist of the century?

Tough one, this century so far? Someone like Nick Cave or PJ Harvey I guess, people who've constantly put out brilliant albums without compromising on what they want to do.

What do you do when you're not playing music?

Listen to other peoples' music. I read a lot. Cook. Is this a dating profile? :)

What has been your best gig so far?

Probably the show I mentioned in the second question, or another local show from the first album at the Academy. That was fun.

Do you think there is any tension in the music industry between being commercially successful and keeping your artistic integrity?

It all depends on what you're looking to achieve. If someone is just looking to get famous as quick as possible, then I guess integrity isn't all that important to those kinds of people. I balance on this fine line, trying to retain my integrity whilst writing accessible pop music. It's a constant struggle! Ha!

What do you hope 2010 brings you?

I just hope that I can continue to do this for a living. I'm not looking to make millions and get famous. That'd be fun, but the important thing is just being able to keep doing this. Like I said, I wouldn't know what else I'd do!

Twilight Elevators - Untitled

Twilight Elevators' demo EP starts off with 'Lost and Found,' a track which is beautifully understated. Light and playful drums waltz around with melodic guitars, creating a relaxed and warming feel. Folk and blues influences blend effortlessly together, and singer Josh Worthington's vocals glide into the mix. It has the same type of complicated sentiment that Scars on 45 achieve; an abstract longing tinged with self deprecation.

The second track, 'Barkisland Bandits' is more upbeat in tempo and instantly catchier, bouncing along with plucky guitars and smooth harmonica. The vocals are sparse and bittersweet, light enough to float along the track and give it a summery feel.

The last two songs are both littered with tenderness and longing, the melancholy tempo gives the songs a much sadder and reflective tone, a Bon Iver reference would not be out of place. It's a pleasant enough EP to listen to, but the politeness restricts them from having the impact they could.

The Good The Bad - From 005 to 008

The Good The Bad have forgone the convention to have a singer in the band: instead they are made up of two guitarists and a drummer. In doing so, each track is packed with energetic guitar that provide the illustration, rather than the vocals. With the lyrical aspect stripped bare The Good The Bad indulge the senses with seductive melodies that flirt throughout the EP.

They provide a similar dramatic flare and rawness to The White Stripes with some surf guitar thrown in for good measure. It would not be out of place on a Tarantino soundtrack, but providing the accompaniment for the scene rather than defining it.

It's full on hip swinging, vodka drinking, let's get down and dirty instrumental rock. However, there are points where it sounds a little to close to an Arctic Monkeys recording where Alex Turner has gone to get a pint. Well executed and worth a listen, but could do with a few more individual characteristics to take it up a step.

Newton Faulkner - If This Is It

Following up on the storming success of his first album, 'Hand Built By Robots,' Faulkner has released his second album; an album that nearly didn't happen. A few days before Faulkner was due to start the recording process he fell, badly breaking his wrist and dislocating his right hand, a problem for anyone, let alone a guitarist. At first it looked like Faulkner might have permanent damage but luckily a new treatment was available and after having a metal bolt placed in his wrist, Faulkner made a full recovery, cue the aptly named 'Rebuilt by Humans.'

The first single to be released is 'If This Is It' a "euphoric hymn" about Faulkner's love of gigging. Although the single is steeped in personal sentiment, it's general enough to allow individual interpretation, hence it could easily be a romantic love song. Faulkner's style of using more than just the strings on his guitar is thankfully still present; giving a subtle flow to the single.

'If This Is It' is sparse to begin with, just Faulkner and his guitar, but the track builds with the edition of drums and elegant strings that build into a powerful chorus. It's a dreamy first single, full of promise for another great album.

Imogen Heap at LMUSU - 9th Feb 2010

The venue is practically packed out by the first support act, Back Ted N-Ted, who casts a lonely figure on the stage. Even though it is just one man and a guitar the noise he is making is massive, thanks to the computers and gadgetry that litter the stage. Electro pop rock rushes out the speakers and Back Ted N-Tedputs down his guitar and gives the audience a snippet of beat boxing that he then layers to create his track 'Hookie', which is accompanied by some very interesting dancing. He announces that it is his job to 'warm up the crowd' and he is certainly doing that, getting a great reaction from the audience, even if no one has joined in with the dancing.
Imogen Heap comes on to introduce the second support act, telling us how she spotted him at a gig her friend was playing at and stole him for her tour. She seems instantly adorable, casually chatting to the audience and praising her support acts.
Tim Exile comes out and a member of the audience shouts "you look like Jimmy Carr", Tim Exile deals with it very well, he does look slightly like a more attractive Jimmy Carr even with the horrendously brilliant jumper he is wearing. You can't help but be impressed with this guy, its sounds like New Order gone dark with bass pounding so hard I nearly lose my footing. His voice is quite soft so gets lost among the raging sound graffiti that is coming from the stage. The music he has produced from his computer and gadgets is really impressive for its technical ability. Though some of the tracks aren't particularly cohesive and are missing momentum in places, how he is producing them is technically extraordinary, layering up sounds that by themselves have no musical essence into a crafted track. I get worried at one point when some bit of kit isn't working properly but Tim Exile manages turn it into a comic moment and you can't help but warm to the guy. Considering it is just himself and he is restricted behind a desk containing a computer, wires and enough gadgets to give a music geek an orgasm, he fills the stage and demands attention.

By the time that Imogen Heap floats onto the stage to a chorus of wolf whistles and "We love you Imogen" the audience are at bursting point. It's easy to see why men are shouting out "I want your babies" as she is strikingly beautiful and moves about the stage with a feline presence. Her impossibly tall hair, creative outfit and waterfall necklace fit well with the magical stage design, where a ten foot tree takes centre stage. Off its branches hang and gong and an assortment of bells and percussion, which twinkle from the fairy lights set amongst its branches. Underneath the tree is a Perspex piano which although it looks impressive Imogen tells us it's a bugger to put together. When she asks the audience if she looks ok there is a resounding yes and yet more wolf whistles.

She opens with 'First Train Home' the first single from the recently released Ellipse album for which she has just won a Grammy. Her voice is spectacular, even though she fluffs the first verse and starts again she is note perfect and it's endearing. It's a great opening number as she rushes about the stage using various technologies to produce a powerful and emotive sound. The next track 'Wait it out' is a more down beat affair with Imogen and the piano which showcases her breathy voice that she doesn't just use but manipulates. On the next track she starts to layer up the song by blowing on her wrists and making a drumming movement. She explains that she has tiny microphones attached to her wrists so she can just go up to any instrument without it being miced up, and she has plenty to choose from. On stage she is joined by the support acts and a drummer who help her through a magical and mystical set.

For one song she brings on a guy who was interviewing her earlier and let slip that he plays cello. Imogen has been auditioning people to come and play cello on tour with her and had mentioned in the interview she felt bad she hadn't done this for Leeds. It highlights her humble and down to earth nature that she is so inclusive and unpretentiousness with her music. This is confirmed when she is asked about he she felt about Jason DeRulo sampling 'Hide and Seek' for his single 'Watcha Say'. She explains that she thought it was "inventive" and her philosophy that after she has finished a track it takes on a life of its own and doesn't belong to her anymore, she is just happy making the music she loves.

Not only is the music she is producing fascinating but so is how she creates it. I think you could give her some chop sticks and a vacuum cleaner and she could make beautiful sounds from it. The drummer has a device (that was used by pilots to communicate) around his neck that allows him to sing the bass line, Imogen prances around with a Boomwhacker (a hollow, long plastic tube) and for 'Tidal' she rocks sunglasses and a Keytar.

She puts on a great show, she constantly mumbles to herself and people off stage and it all seems a bit chaotic up there, but this only adds to the charm as its tight and organised where it needs to be, the music. The crowd have obviously been waiting for the encore 'Hide and Seek', again with the help of a Keytar, and being able to part of the experience is magical. There is something really enchanting about Imogen Heap, while with some artists you feel like they are baring their soul on the stage, with Imogen it feels like her imagination. She pulls off a captivating and creative performance, she is confident but accessible, funny, engaging and charming, this experimental music at its most beautiful.

The Sailmakers - Unsteady on his Feet

The Sailmakers are an acoustic three piece indie band from Keighley, formed in late 2008. Having started out as an acoustic act; they added a drummer and then went electric.

'Unsteady On His Feet' starts off with gentle guitar which give the track a folky feel from the beginning. The drums come in with a tribal and raw beat giving the song great energy and power. The vocals are a little slow at coming in but when they do the singer's voice has a nice tone and the lyrics are clear, if a little simplistic. The backing vocals continue with the restrained folk feel, which gives the song a rustic texture but sounds very professional with it.

They fit very nicely into the folk / rock genre that began to bubble up in late 2009 and looks set to be big this year. The Sailmakers wouldn't be out of place supporting Mumford and Sons or Bon Iver, but aren't up to surpassing them yet; although I wouldn't rule it out that they will have a bloody good go at it. For a relatively young band, at least with this final line up, it's a really great track that will have you tapping your feet and leave you considering going see them live.

Loverman - Human Nurture

Every once in a while an EP comes along that you just can't get off repeat play, 'Human Nurture' is however as far removed from one of these as you can possibly get.


Loverman promises "a small but perfectly formed clutch of songs, steeped in ominous noise and macabre imagery and a tenderness of the sort you get in half healed flesh wounds." Well I do feel like I have been shot, in the leg, twice; listening to it is physically painful. Perfectly formed translates to breathtakingly horrendous, it sounds like some angst ridden teens taking out their frustrations on some instruments they haven't figured out how to play yet. Everything sounds clumsy and disengaged and any sense of melody or beat seems like an afterthought.


It most closely fits into a hard rock genre and is possibly what System of a Down would sound like if you removed their talent. The problem is they are trying too hard to be shocking, without being intelligent or witty. Starting with 'Crypt Tonight' which includes the line "I'm a sex offender / I'm your children's teacher," which says it all really. The bass and drums aren't bad; they aren't great either but they're probably the best things about the EP.


It's hard to pinpoint what is the worst thing about this EP; the lead singer alternates between screeching and sinister. In the latter moments it doesn't sound too bad and a Nick Cave reference wouldn't be wholly out of place.


Ok, so I'm being quite harsh, 'Barbs' isn't too bad a track, the vocals are smoky, smooth and have lost the stifling quality that scars the other tracks. Its downbeat and shows musicality which is absent in the rest of the EP and portrays emotion as the lyrics aren't distorted by screams.

The Lost Patrol - Midnight Matinee

Midnight Matinee is the seventh release from New York based The Lost Patrol, and the first recording with singer Mollie Israel.

This is definitely not a CD for those who have a specific genre and stick to that, having been described as everything from 'gothic spaghetti western' to 'experimental surf,' it's no wonder there is some difficulty in deciphering the sound. The tracks float out of the speakers and immerse the listener in a dreamlike world of "twangy-ethereal electric guitars, lush acoustic twelve strings, deep synth textures and sirenic vocals." There is even a touch of bubblegum pop on 'Jukebox on the Moon' complete with sleigh bells and cheery bounce.

Right from the first track you feel like you have been transported into a Tarantino movie, you can practically taste cigarettes and tequila. The guitar style, reminiscent of Tito & Tarantula or Johnny Marr, feels relaxed and effortless. The combination of the acoustic guitars and the electric guitars work really well throughout the album. The former give the songs a warm settling feeling and the latter rest on otherworldly and illustrative.

Mollie Israel's vocals are dreamy and crawl seductively over the tracks with an air of Joni Mitchell mixed with Kosheen's Sian Evans. 'Fades From View' and 'The Fallen' best showcase Mollie's vocals as they become fluid and transcendental, pirouetting over the melodies and reeling you into The Lost Patrol's world, it's a bit of a shame though that some of the lyrical content gets lost along the way.

It comes as no surprise that the history of this band is littered with instrumental soundtrack music as the songs float out of the speakers rather than rush and grab your attention. Throughout the album there is a lack of enough ideas to stand the tracks apart from each other. Although each track by itself is pleasurable enough and well executed, as a whole the tracks are too similar to give this album a sense of depth and dimension.

The Finnlys - For Love Nor Money

2010 is looking good for The Finnlys with gigs lined up throughout Yorkshire and Rotterdam and a blinding single 'For Love Nor Money.'

'For Love Nor Money' is a really well crafted single, Indie grit that's pop friendly. It starts off with just a couple of strums of the acoustic guitar and vocals which are full of emotion and strength. Drums, bass and strings are added to build to a catchy chorus, lustful and wanting. The strings have the same effect as the one they tend to produce in Coldplay's tracks, one of sheer exhilaration where you can feel your heart pounding and your skin becomes highly sensitive.

The guitars, bass and drums have the enthusiasm and animalistic tendencies of the Arctic Monkeys, pounding and raw. You could be forgiven for thinking that 'Behind Closed Doors' is a track by the Arctic Monkeys or The Last Shadow Puppets, which is brilliant if you like them. Even the singer sounds like Alex Turner, effortless and frantic twisted into the melodies.