3 new bands making 'old' music

If you've visited IWAOS before you might know I like new music and that I love tracking down new bands but what you may not know about me is that I also love old music. In fact nothing makes me happier than if Shirley Ellis' 'The Clapping Song' comes on while I'm on the dance floor. So in some ways this is a post on two of my favourite things - new bands who make 'old' music. One I have followed for a while and two are brand new to me but all of them have blown me away with their new take on an 'old' sound.

First up is the Allah-las, who must be pretty new as they only have two songs out, this one 'Catamaran' and the equally jangly and brilliant 'Long Journey'. According to one of my favourite music blogs Aquarium Drunkard (the reading of which makes me want to move to California immediately) the Allah-las are resident band at the Echo club in San Francisco where they play a free gig every month - it's just the getting there that will set me back then.

Then a band which I have sort of tried to follow for ages. I say tried to because every time I go to check them out they've changed their name. I think at this stage they were called Jack Lewis and the Cutoffs but now they're named Jack Lewis and Awkward Enemy. Anyway, I love the low-fi sound of this track 'Shadow Party' and the video is cool too.

And finally to Nick Waterhouse who I get the impression is something of a dude in his hometown of San Francisco, and with a soul sound like this you wouldn't expect anything less.

It's got me thinking that soul and rhythm and blues could well be on the up, perhaps the genre might even enjoy a massive revival a la folk music. American acts like Janelle Monae and Aloe Blacc have already made an impression on the charts in the UK and drew impressive crowds at Glastonbury. But if not I'll have to continue tracking down retro nights and the best of the new 'old' stuff coming out of the USA's west coast.

Album Review - Skin & Bones, David J Roch

City Sessions_Film Two_David J Roch from City Sessions on Vimeo.

I was lucky enough to see David J Roch at the launch of exciting film/music venture City Sessions, which has been set up by the lovely Matthew Lawes (@mattylawes if you’re on twitter.) The video I’ve included is one of the installments from Matt and co’s City Sessions, check the rest out, here. Anyway, more about that another time, what follows is my review of Roch’s album, originally written for The 405, published here.

Say what you want about David J Roch but one thing is for sure; he possesses a pretty impressive set of pipes. Pretty outstanding actually, he can switch from bluesy baritone to soaring falsetto with not so much as a second thought – making his debut album one that can’t fail to make you sit up and listen.

The first track, ‘The Lost Child’ is as good a showcase of this as any. It starts quietly, just an electric guitar and Roch’s voice residing very much at the higher end of the scales – almost piercing, but as instruments join in so Roch’s voice warms up, leading to an impassioned chorus of “all I’ve got is love.”

Roch definitely appears to have adopted the wear-your-heart-on-your-sleeve approach to songwriting. For example, in ‘Hour of Need’ he sings, “I’m so ashamed of what I’ve done and yet so afraid of what’s to come, you gave me up to be lonely with another boy” – making for a heartwarming and honest listen.

The comparisons are many and varied; Damien Rice is one, and there’s something Michael Stipe-esque about his delivery in songs like ‘Bones’. British Sea Power also come to mind, so it’s unsurprising then that Roch provided support for British Sea Power on their most recent tour and I can only imagine won himself a few fans in the process.

‘Lonely Unfinished’ is especially atmospheric mainly because of the use of a church organ, “love is splendid agony” goes the refrain, like a tortured medieval lullaby, and Roch uses his higher range to perfection on this track.

‘Dew’ is reminiscent of some of the more recent sounds of say, Zola Jesus or Hurts both of whom manage to make current music with clear 80s and 90s influences – proof that Roch has more than one string to his bow. ‘Devil Don’t Mind’ harks to a southern gospel sound and Roch has admitted he is a fan of this style of music and indeed jazz. Of course, he has put his own slightly macabre spin on proceedings here as everywhere, which results in the killer line, “there’s no point in being well behaved, when you’re stood in your own grave.”

These gothic undertones are common throughout the album and Roch is clearly a bit preoccupied by thoughts and ideas surrounding mortality – ‘Bones’, ‘Skin and Bones’, ‘Devil’ – all are darkly romantic and yet thrillingly uplifting. ‘Skin and Bones’ has single written all over it – close enough to anthemic folk to perhaps permit it some serious radio time ala Mumford & Sons.

Album Review - Timber Timbre, Timber Timbre

Written for and published by the ever so amazing music site The 405.

Album opener ‘Demon Host’ had already been around a good while before the recent release of Timber Timbre's debut album and had earned the band a number of fans among those who like all things American and blusey.

And 'Demon Host' did appear to be about as American as it could get. In fact the official music video (above) showed the man behind Timber Timbre, Taylor Kirk, sitting in a large countrified barn, picking his guitar, singing about God and repentance, and all in his finest Southern drawl.

So convincing is this stateside charade that it might be a surprise to find that Kirk is actually Canadian. Nevertheless Timber Timbre’s self-titled UK debut (Kirk has released two albums previously in the States) provides a journey through some of the best musical influences that America has offer. From the hillbilly ode of ‘Demon Host’ to gospel number ‘Trouble Comes Knocking’, where you don’t have to make a huge mental leap and you could be listening to the American-influenced rhythm and blues bands of the 1960s - we’re talking The Animals’ ‘House Of The Rising Sun’ in particular.

‘We’ll Find Out’ continues the decidedly gospel vibe, this time with Kirk’s deep and rich voice barely singing but instead talking, preaching even, “Do your actions mention your heart’s intentions? We’ll find out. Is your mind mistaken? Is your conscience not at ease? We’ll find out.” Indeed, although the musical styles vary from one track to the next, the common thread throughout are the dark and mysterious lyrics. There’s always an underlying threat of some sort, like in ‘Lay Down In The Tall Grass’, “In a late basement séance that brought us to tears, dreaming every night of you, I’ll be shaking at the sight,” there’s something very film noir about the overall feel of the album.

Other parts of the album, such as ‘I Get Low’ and ‘Lay Down’ sees the addition of some seriously gothic sounding organ chords that work well with the generally macabre tone. The pairing of this TV horror organ with twinkly piano notes and strings also immediately bring to mind the soul standards of legendary crooners such as Al Green.

‘Magic Arrow’ brings us up to date with an ‘almost pop’ feel – if you squint your ears you can imagine the likes of Brandon Flowers having a hit with this song. But with Kirk at the helm we have dirty bass riffs punctuating this track making it, well, pretty epic really. As in the rest of the album it is coloured with a feeling of menace - there is too much darkness for it to be a radio hit but it’s all the more interesting for it.