The latest single by The Enemy, ‘Saturday’, is certainly not what I expected from a band whose albums have reached number 1 in the charts! It has a distinctly heavy sound, much heavier than their previous work – but I do like it. The track is a little teaser of the band’s upcoming album ‘Streets In The Sky’, and if it’s anything like this track, then I’m sure we’re set for a real treat.

The Enemy wasted no time in getting into the meat of this track – it immediately begins with the chorus, and some heavy strumming! It is easy to notice the influence of US punk band The Bronx here, with whom The Enemy have recorded their latest album. The anthemic style of The Enemy mixed with the skater punk of The Bronx, makes for both an interesting mix and undoubtedly chart material. The beautifully husky voice of Tom Clarke seems to be the main attraction of the track, with the other instruments being very much in the background. The simplicity of ‘Saturday’ shows how the band has been influenced by bands such as The Clash, and the very English vocals demonstrate this!

However, at the same time, I was quite glad that this song is only 3 minutes long. It’s simplicity would make it a bit tedious if it was any longer! The only prominent part of the song is the chorus, which means that the verse vocals just fade into the background. But on the up side, one instrument that is given the opportunity to shine in this track is the drums. The talent of drummer Liam Watts is undeniable, but I do feel that there’s a lot more to come from him.

And to be honest the way that ‘Saturday’ is said in track, has started to annoy me… But I think, in order to decide for yourselves, you should grab a copy as soon as it’s released on 21^st May.

Faith Thomson

The term “chilled” is one that strikes fear into the hearts of music enthusiasts. Sometimes it effectively describes the kind of relaxed vibe associated with the best low-tempo legends. Sometimes though, it’s just a word used when a song doesn’t have enough going for it to warrant the use of a real adjective.

‘House’, the latest effort from Kindness (or Adam Bainbridge as his mum named him) falls more into the latter category. It’s difficult to truly like the track, as it suffers from being neither catchy nor original. There’s a vaguely interesting piano line, but this soon gives way to some rather uninspired synths that sound like they’re being dragged against their will towards some distant nu-soul hell.

The Horrors-on-valium vocals don’t annoy so much as pass by without even saying hello. The only notable lyrics, “I can’t give you all that you need, but I’ll give you all I can feel” is actually a reasonable premise, but it all goes nowhere. There’s no lyrical development.

There’s nothing to get angry about here, but neither is there anything to warrant emotional investment in the plight of Adam Bainbridge. The production is perhaps a little too polished too even mark him as a potential future star. The main problem though is that he seems to rely on one or two reasonably exciting ideas – the piano line, barely noticeable harmonies in the chorus – to carry the whole song. Overall, it’s just a little bland.

Alan Henderson

The music I like comes down to two distinct categories. Firstly, things I can dance to and, secondly, things which make me cry. After being presented with Rednek’s latest offering entitled ‘Conspiracy’ which had a skull on the front and was described to have “dubby vocals” by Sean Byrne I did not think it would bode well. As always, with an open mind, I gave it a listen and low and behold it did have the potential to fit into my second category of songs. It almost made me cry… for all the wrong reasons.

Although at first the reggae-like quality of the melody overplayed with the synths gave me hopes for something a bit different and dark, it just did not progress into anything with much interest. The “dubby vocals” (if anyone can enlighten me as to what this actually means, I would be hugely appreciative) were quite frankly dull and the lyrics uninspiring. Also, on the CD, there was a dubstep remix of the track which, if I’m honest, is hard to tell apart from the original.

The dubstep version seems to consist of echo-ing the “dubby vocals”and adding in the sound of a police car siren and a few mindless electronic noises to the fray. Needless to say I am not a fan of this track, it has left very little impression on me. When writing my reviews I do try very hard to ensure I say at least one positive thing in order to remain balanced and be fair to the artist. So for this I have to say the line “it’s all a conspiracy” and the opening fifteen seconds are quite catchy. Apart from that I have little else to say, but as always give the track a listen and decide for yourself (just best keep an open mind for this one)! The track will be released on the 7^th May 2012.

Holly Abbott

Robinson is pretty much the epitome of the idea of a ‘tortured artist’. Recently he has received rave reviews from music insiders like Will.I.AM, who has described him as being ‘An awesome talent’. His single ‘You’ll Never Be Her’ has a sort of Baltic, bohemian feel to it and is pretty depressing. The beat is kept by a tambourine, which gives it a rustic feel. The song is about a young couple who were meant to be married, but the night before their wedding the girl is killed, which then pushes the man into a deep depression. Imagine the story line of Moulin Rouge, but without the happy start.

The lyrics are put together in an impressive way and are pretty beautiful. The melody is pretty similar the whole way through, but there is a slightly happier section nearing the end when Robinson is explaining why he has become a bit of a man whore! Robinson is obviously a very talented singer and artist and you can really hear the pain in his voice and wonder if the story he is telling actually happened to him.

Even though most of the song is similar, it is still very compelling and it is easy to listen to (unless you are in a weepy mood) over and over again to try and get a better picture of what the song is about.

I would suggest Robinson to anyone who likes depressing songs and being able to say that they have found a new band with little following. I like this single, however it feels a little pretentious, but then again most music is, and this is the sort of  music that you could imagine in a ‘hip’ tent in a festival. The singing is fantastic and the lyrics are beautiful. Its interesting and different from the other music you would generally find out there at the moment, sadly while writing this review I have been pretty rushed, so I don’t feel that I have really done Robinson justice. I would say just listen to it. It won’t be every one’s cup of tea, but if it is you may have just found yourself a new favourite artist.

Lucie Douglas

This week I have reviewed two very different styles of music and very different ends of the spectrum in terms of quality as well. These Reigning Days are a baby of a band; having only begun gigging a year and a half ago they have created quite a storm in not much time. They do however have Indie ancestors: frontman Dan Steer was originally part of The Quails and on the website he describes new project TRD as “a fusion of Indie rock with a subtle electro twist but also with some deep and dark moments”.

Yes, this is indeed a pretty good description of the sort of stuff we have going on here. But the big question: is it any good/do I like it? The answer is a big fat YES!

The beauty of it is the simplicity and the darkness of the song which leaves it stuck in your head for days and also gets you thinking at the same time. It’s a brilliant song with an epic feel in the chorus, great for those emotional moments to have a mope to. The vocals are good and Steer has an unusual voice which is able to carry the emotion of the simple lyrics within the song. Although I do get the feeling this is rather restrained, almost as though Steer is testing the waters with the band. Therefore I would love to see the band at their best as I believe it is still to come. The song is available to download on the 20^th May 2012.

Holly Abbott

Talk in Code is a 5-piece indie rock band from Swindon. Although they have been together just over a year, following the split of the original line up in 2010, Talk in Code have already met an enthusiastic reception from critics and a growing fanbase. So with glowing reviews and numerous radio plays, including BBC, I expected great things from Talk in Code’s new single ‘Face To Face’. However, I was disappointed.

The main problem that I have with this single is that it’s difficult to separate a melody from the noise (a jumble of synthesisers, guitars and drums) let alone properly hear the lyrics to understand where this song is going.  Not only this, but it’s difficult to tell where the chorus is as it blends into the rest of the song. If the sound were cleaner I may have enjoyed this single more, it has a slight (and I mean tiny) resemblance at the beginning to ‘Shiny Happy People’ by R.E.M. Chris Stevens vocals are not bad, though they are nothing out of the ordinary. Generally I’ll listen to anything as long as it is catchy or captures an emotion. For me ‘Face to Face’ does neither, which is surprising considering that Talk in Code have been praised for their ‘uplifting’ and ‘atmospheric’ style.

The music video will be available to view from the 23^rd April, however there is a preview trailer which makes me warm to the group. Talk in Code seem like a genuinely nice group of lads, the video has been self-directed and features the comedic night out of a muppet named Cody. Though not even this fun video is enough to combat the fact that this single is pretty lousy, which is sad as Talk in Code’s others songs are pretty good and ‘Face to Face’, available for download from the 21st May, does not represent them well.

Bailey Johnson

Coming from a band best known for having supported Coldplay, ‘Necronomicon’ is a remarkably uncomfortable release. Up for review is the radio edit, but it somehow feels too explicit for airplay. That’s partly a lyrical thing – the whole Lovecraft theme comes across as misjudged, made worse by the fact that references are crammed in at every opportunity. Combine those with one-two punches in the same pseudo-goffick vein that, considering it compares female infatuation with the works of the man who brought you both the flying spaghetti monster, takes itself far too seriously, and the result is something that manages to be both vaguely offensive and a bit cringey at the same time.

The other part is because of how brazen a noise-collection it is. It’s not inharmonious, it just clashes with itself in a way that the listener can never quite get comfortable with: the way that the verse-by-verse vocals skip a beat to drop emphasis on the last word never stops being irksome, the drums stab rather than roll along, the guitars are so fuzzed and amped as to be barely recognisable as such in the first place and the lead synths sound like they’re being generated by a demon possessed Sega Saturn. Even though it’s all very intentional, it becomes very difficult to pin it down as a whole.

And yet, in spite of everything I’ve just said, it comes dangerously close to being poppy. There’s a something in there that is… well, not ‘fun’, but something like it, a kind of broad-stroke intensity that, whilst not unfamiliar, is nonetheless distinct. No really – it’s like you’re heard stuff like this before, but nothing makes for a particularly good comparison. Some connection in my head was made between this and The Bravery’s ‘An Honest Mistake’ (remember that video?), but upon closer inspection there’s no obviously good reason for that, other than the way it bursts in intense fuzziness here and there and because the guitar sounds aren’t a million miles apart. Well, sort of.

The only conclusion that I can even begin to arrive at is that it’s doing the ‘edgy-pop’ thing badly, that it wants to be looked into deeper yet chucks everything it has at you as hard as it can, only the chuck’d stuff doesn’t satisfy and not very much is left behind. But the more honest answer is that I can’t get my head around it at all. Maybe you will have better luck?

 Scott Reid

It’s a name you probably have a vague inclination of but probably no definite identity to attach to it. But if I say ‘Twinings advert’ with that gorgeous cover of The Callings’ dramatic rock classic ‘Wherever you will go’, you will definitely know the voice. And it was this voice and the bubbly girl behind it I came to see at the Lemon Tree on Thursday. It was a night of exceptional vocal talent and musicianship. On entering the room it was set up with tables and chairs lit by candlelight which created the perfect atmosphere for a glorious evening of music.

Supporting her was a man with a guitar called Dan Shears who despite the unfortunate technical difficulties managed to keep the audience entertained throughout. If he ever decides to give up the music (which he shouldn’t might I add) he could easily make a career as a comedian as he was hilarious with excellent crowd banter. My favourite song of his was ‘London by Lamplight’ definitely give it a listen and see what you think. His songs showcased an unusual voice and songs with immense feeling which set up the perfect atmosphere for the main event.

Soraia came to the stage and instantly the audience warmed to her, she was engaging with the crowd (despite a hiccup addressing us as “Edinburgh” not our beloved Aberdeen) and it was just as though we were chilling with our best friend. Frank and honest about her success thus far with THAT SONG she showed herself to be far more than the commercial success of a cover. Her songs were a delight and the voice was indescribable, so much more than the song which made her famous suggests. I was captivated by the talent in front of me and was pretty much blown away.My favourite track was ‘Bike’ a beautiful love song which showed off all her vocal talents, another highlight was ‘Animal’ where she switched to a baritone guitar (did not know that existed until now!) and was a very different upbeat and dark song. She ended on ‘Wherever you will go’ which you cannot deny is absolutely beautiful as sung by her (don’t tell anyone but I do believe I had something in my eye…). Then an encore with a bizarre and humorous song about the girl her boyfriend cheated on her with entitled ‘Does she fake her cum face’ which I recommend you go and see her to get the full scoop on that one…

Simply her talent, supported occasionally by some drums and a bass guitar created a fabulous evening which I really can’t fault. If you ever get the chance to hear her for yourself (or support Dan Shears for that matter) I implore you to go and be amazed.

Holly Abbott

Of course the weather in Aberdeen has turned rather horrendous so I had high hopes for Juan Zelada bringing some sunshine back to the north of Scotland. His music is a lively mix of Spanish, pop, swing and soul which does not take itself too seriously. His self released album High Ceilings and Collarbones is out now and the gig was a showcase of some of the tracks from it as well as some others.

But first was support by Cara Mitchell, who was the sweetest woman with a guitar and a most astonishing voice. The only criticism I would have for her is that she needs a bit more confidence; she was very shy but has no need to be. An incredibly talented woman with a really unusual husky voice who has written some heart-achingly beautiful songs to her name. So hopefully with a bit more self-belief she will only get better and better.

Juan Zelada and his band were on the different end of the spectrum with the Latin flavours coursing through the music it really was like a ray of summer shooting through the cold Aberdeen night.  A band made up of your standard drums/bass/guitars with the added twist of Spanish acoustic guitar, trumpet and tenor saxophone. A lively mix of music had everyone dancing and despite the disappointingly small crowd (he normally plays to sold out venues, so I think this was a surprise for him!) there was a really great atmosphere created. Overall it was a hugely entertaining evening of music and dancing and definitely spiced up the bitter Aberdeen cold!

Holly Abbott

Gentle Mystics are a band who are mainly based in London and are signed to the record label ‘Emerging Species’, but that is pretty much all the concrete information that I can find out about them. Listening to their music it feels like they are a travelling troupe of musicians (most likely travelling with a circus of sorts). To me they seem very folky and remind me of the bohemian times in Paris (thing Moulin Rouge, but with the occasional rap verse). As a band they are strangely compelling and very unusual, however I think its on the border of pretentious, although I can’t really explain why I get this feeling: I am probably just jealous!

The first song on Gentle Mystics self-titled album is named ‘Sit with me’ and is incredibly creepy. It feels like a mix between a witch casting a spell, Kate Bush and a prostitute driven crazy by syphilis singing in the streets in 18^th century Paris. It’s an interesting song and the singer is very talented, even if it does feel that I am listening to it from a haunted house. The next song is called ‘Vagney Massive’ and it isn’t really a song, it just sounds like one and a half minutes in a French pub a long time ago. I guess that they as a band are trying to set the scene for their album, but this is why it feels a bit pretentious to me. They seem to feel that they are so fabulous that the band sitting chatting creates a song!

The third song is called ‘Spiralling Breeze’, and it gives the album a theme and variation feel to the album. It starts up in much the same way as the first song, but then a slightly techno feel is added to it and then rapping comes in. It is interesting as it takes what is normally found in this type of music and changes it. And the rapping doesn’t actually sound too out of place! ‘Midnight 3 Days Ago’ is an instrumental song that is pretty chilled and laid back with a swing/jazz feel to it. It again feels like it wouldn’t be out of place in an underground Parisian pub while the people drink away their sorrows.

There are fourteen songs on the album and they are all slightly different, however they all mainly follow the same creepy theme of the Parisian underground. It would be repetitive to go into detail about them all, so I won’t. They all use the same sort of musical concepts, but they are all pretty different. I can imagine them playing in a club in the underground scene in London, and it being an amazing night. The music is all very well put together, so if you like music that is pretty unusual and probably the majority of people that are fans are so because that makes them ‘alternative’, then great. I like their music as it is interesting and doesn’t go with the majority of modern music, but it’s just all a bit ‘cool’ for me.