DEMOS
Age of Jets
Age of Jets appear to be Hull's own version of Broken Social Scene what with some of the part-time members being Jonee (Fonda 500), Reg (Santaz Bugger Voyz) and Chris Hossack (The Bonnits) - only without the international acclaim (hey you can`t have everything). It only takes one listen to this demo to realise that it isn't your average recorded in shed demo. Further digging reveals it is in fact the beginnings of a album to follow up to 2004's Go Go Gadget Pop and on the evidence of this that could well be worth a purchase. While this recording does have some up-tempo bleep pops moment most of it has a more sprawling almost lo-fi disocy electronica feel particularly stand-out track Robot Boy. An as yet unnamed album is planned in the not to distant future and if they can build on this it will be worth looking forward to. Oh and if you want to catch them live you might be waiting a while as the key members have relocated to Japan but perhaps we might get a Rodan like appearance at somepoint?
Mike Reynolds
New Offenders - Before the Bomb
This track unusually begins as a reminiscent tribute to a spaghetti western soundtrack, slowly picking away at a guitar, however, is not the most indulgent way start to your first demo. This baron attempt is a poor reflection on the band, their irresolute attitude is one that does not bode well if they intend on seeking a prosperous future.
Their musical talent is clearly lacking any strength and power and their feeble struggle to produce an original song has proven an impossible task for these Nottingham newbies.
The band seems to lack any passion, which surely should be the main priority when starting a band? Their aspirations have shriveled and drifted away along with any talent they once had. Strained vocals that slowly jump over offset drums and a guitar riff for dummies proves that music stardom is far from visible. Its hard to compare the band to anyone, as their sound is so underdeveloped, a transparent and lacklustre venture that should leave the band questioning their priorities.
Hannah Clark
This Floating World
At last. A release from This Floating World. Simply put, these five tracks are easily the equal of anything I've listened to in the last year. Their line-up has changed somewhat since their debut CD some time back, but as ever, the project is built around the considerable vocal talent of Justin Lewis, now accompanied by Sally Jo. Included here is the sublime Ghosts, which was on the Sandman cover mounted CD last year, and anyone who heard that will have some idea what a treat this release is. Their songs are brimming with emotion and a passion which cannot be ignored. Sweeping, epic arrangements, vocals to lose yourself in and beguiling melodies. The album will be a truly essential purchase for discerning music fans.
Vivian Bonzo
Death Qunt - Now 69/Shit In Your Bed
A truly charming name for a truly charming proposal. I know you're thinking punk - I did. As you will when you hear that the three founder members are called the Vaginaliser, Nob-Rot and Cumbucket. Would you be surprised to learn that it is indeed not punk? Or at least not in the usual sense of the word.
All three band members attended Leeds Music College. Once you know that, you'll be thinking beyond three chord wonders. What you've got here is ugly freeform progressive jazz. I mean really nasty. Songs may start out sounding like Steve Hillage jamming with Didier Malherbe in the good old days, but soon the rhythm starts fluctuating, the structure collapses and the instrumentalists spiral off into atonal gibbering wreckage. In that respect, perhaps this is punk in the pure. Technically impressive, but not the sort of thing you want to listen to too many times.
Rob Wright
Fuzzgun Sniper
Fuzzgun Sniper formed in late 2000 because brothers Nick and Leigh Emerson wanted to "create a totally new sound". What they have created is something which sounds very like Sigue Sigue Sputnik and Primal Scream… but this is not necessarily a bad thing. Blunt punk force forms the Snipers' backbone, and is given bristle by electronic beats that make each song a driving force; 'Hitman' in particular perfectly captures the urgency of a blockbuster chase scene through dirty, dim-lit streets. It is only the occasional repeated dialogue sample that needles at the listener while adding little to the song. Plus, it would be nice if the Fuzzguns were as fun as Sputnik, and although some of the lyrics are faintly reminiscent of the cartoon politics of PIL and Africa Bambaataa's fantastic 'World Destruction', too often they lean closer to the po-faced nonsense of Primal Scream. Run from it screaming and crying boys! This is a world destruction, your life ain't nothing, the human race is becoming a disgrace!
Russell Dunphy
The Speakeasy
This is a great showcase of another of Sheffield's up and coming bands. Together for two years now, they've finally ventured into the studio. This set of three tracks is produced by Dave Gledhill (he of former Sheffield hopefuls, Gledhill), who is a big fan of the band. They have undergone a few recent personnel changes, so much so that the line-up which played the recent Floodstock, was actually not the one on this CD, with the band now fronted by guitarist Nick. They assure us that this is now the permanent line-up, and have gigs planned throughout the North over the next few months. Time to Shine, the opening track says it all really; Speakeasy are ready to step into the limelight.
Vivian Bonzo
The Airstrip One
They may well have been featured on Steve Lamacq's Radio 1 show but it is difficult to make out quite why. The opening track Cataclysm is monotonous with vocals that leave a lot to be desired, thankfully the lively and exciting instrumental redeems it but is still not enough to detract from the low standard of the frontman, and it is an unwritten rule that for a band to be successful they need a charismatic singer. It is fair to say that The Airstrip One are sadly lacking in this department. The second tune Seren is a minor improvement but still nothing to write home about, at times the vocals are almost covered by the backing track, which although isn't all bad it does make for a bit of an amateur sound. Closing track Crossing Infinity is the most miserable and frankly dull of them all. Once again as in Cataclysm the vocals are a poor second to the guitar and drum backing.
Chris Horricks
Allegro Fall
Sometimes when I listen to this demo it just flashes by in an anonymous, featureless blur of annoyingly shouting guitars and dumb-arse lyrics. So, Allegro Fall, four piece, guitars, bass, drums, metallurgists of the workmanlike type, sound like a million other bands, like the hammering inside the head you get with a hangover that just won't stop but thinks its being, like, y'know, really funny. Sorry, funny? But then again, other times it sounds like a band who've got the time-weight-velocity equation of fantastically exciting metal just, like, right. So, Allegro Fall, four piece, guitars, bass, drums locked in one glorious purpose, sound like they're one of the few bands to understand that subtlety and power are not mutually exclusive, like the sound of this moment exploding in your head, like, right now! So, go figure…
Johnny Ersatz-Culture
Shadows & Impressions
Shadows and Impressions are a four-piece Leeds metal band. As such it's quite annoying to hear cod-Yankee vocals from the outset. It's always better when a vocalist sings in his/her own accent. For a start, it gives the instant impression that your band actually has its own identity, rather than just nicking another band's. It's a relief then when the vocals switch to the burpy grunts so prevalent in this musical genre. And very well executed they are too, as is this demo over-all. While fist track 'Hear These Voices' makes little lasting impression, second song 'Just a Wasted Memory' makes effective use of space and dynamics with menacing, grumbling guitars. A good start then, but more individuality might do S&I some favours.
Richard Morris
www.shadowsandimpression.com
www.myspace.com/shadowsandimpressions
Slice
Superficially, Slice play competently put together and imaginatively arranged funked up rock. They have a good grasp of dynamics and aren't afraid to leave gaps where the looser limbed listener can throw a shape if they get excited enough. Problem is, its all a bit too polite and well mannered to be the filthy phat funk the Chili Peppers (the band Slice really want to be) can produce at their best. While opener 'Rockstar' stutters and jerks along nicely, with some fine drumming from Adrian Wong and neat interplay between Charlie Wilkinson's guitar and James Lawson's bass, its lyrical banality just grates ("Put your hands in the air like a rockstar!" ad nauseum). The band gradually unravel across the other songs; 'Desk Monkey''s spirited music is again undermined by a dumb lyric about office life (yawn!) while 'Nothing Left to Lose' stretches across an interminable four minutes of music by numbers.
Johnny Ersatz-Culture
Trash
Trash might well be American slang for rubbish but this demo doesn't belong in any kind of bin, not even a bargain one in Woolworths! There aren't enough bands that sing with overly pronounced slightly chav sounding Mancunian accents. Their lyrics and rhymes are simple but effective which makes Jug Of Trash sound like it was made by a band who have been long established. A lot of demos tend to sound as if the artists are trying too hard and in some cases not trying hard enough, thankfully Trash have got the balance just right. If they build on this demo they have a bright future ahead of themselves. With Trash, The Ting Tings and Bluebird Kid Clarke amongst a collection of young bands coming out of the area, the future of the north west music scene is in good and very capable hands.
Chris Horricks
Mazikeen - Don't Know Why
Mazikeen do not fear the anthem. This demo is very much in the Editors vein, but with less subtlety and teeth-gnashing on display. 'Don't Know Why' does at least have a good, punchy chorus and goes all Van-Halen with the keyboards near the end. It's difficult to tell if Mazikeen are aiming for brooding 80s-tinged drama, but overshoot and hit cheesy 80's melodrama, or if their actually working towards the latter but don't have the talent to make it soar. Whatever, this is quite enjoyable in its way, but won't set your trenchcoat ablaze.
Richard Morris
http://www.myspace.com/mazikeen
Aporia
When post-rock first seeped and screamed out of Slint's paradigmatic guitars, the idea they set running was to explore new ways of making music with the tired old electric rock guitar without succumbing to the dumb grandeur of prog rock. Since then plenty of bands have managed to squeeze out another ounce of sound worth making and listening to, but countless others missed the point entirely, assuming that mere earnest intensity could be an adequate substitute for creativity. Take Aporia, for example, a band who do po-faced intensity about as earnestly as anyone else you can think of. On the plus side, there's a great feedback jolt in 'Interlude to a Low', 'Origami Bullets' is a great title for a song and 'Light in the Light', despite sounding almost exactly like Smashing Pumpkins, has a great loose-limbed swagger about it.
Johnny Ersatz-Culture
Secretly Soulmates
Although describing themselves as a 'post-hardcore' outfit, SS have a sound which leans a little too heavy on Lostprophets-esque whinge-core, with not enough grunting, throaty-death noises from singer Chris Chart. However, this is a pretty sophisticated demo recording, with first song 'Silver Birch Rise' throbbing straight into track two, 'Chinese Whispers'. The guitar sounds are suitably bludgeoning and the drums propulsive throughout. There is little variety over the three tracks, but then presumably that isn't the point.
Richard Morris
Kinch
Described by their manager as 'Leeds' funkiest indie-pop five piece', Kinch are happy to pitch themselves at a hitherto unexplored mid-point between Maroon 5 and the Arctic Monkeys. While the former is far easier to detect in opener 'Work it Out' there are traces of the latter, particularly in the grittiness of the singer's voice (I don't know which Kincher is singing, as they have three vocalists). For those of you who'd rather endure back-street dental surgery than listen to a band who freely point to their musical influences as including Maroon 5, well, Kinch aren't really as bad as all that. They have a good knack of confounding expectations; for example, second song 'Something's Different' develops a nice little vaudeville bounce as it rolls along. Kinch are work in progress, and some good advice for them would be to avoid the limp Americanisms evident on this demo and concentrate on developing a more individual sound. While they certainly won't be everyone's cup of 'funked-up indie-pop', they may carve out their own place in pop firmament.
Richard Morris
www.myspace.com/kinchuk
King Pest
Upon listening to this demo, it becomes clear that, while King Pest's edgy, distinctive vocal style is undoubtedly their greatest asset, it can also at times be their one big weakness.
The addictive vocals of 'On The Town' and 'Reasons' give King Pest a sound all of their own, and ensure you'll be hitting the repeat button a good few times. However, on a few occasions the vocals do become slightly too much to handle. In particular, the chorus of 'I Know,' features an echoing back of each line, and does become a little irritating. These are rare occasions though, and for the most part King Pest's vocal style works brilliantly.
Musically, the songs meander along in a way that ensures they would make the perfect accompaniment to a lazy summer's afternoon. The sublime, power-pop melodies, mixed with an unusual vocal style, makes for a unique sound that is more or less maintained over the course of the demo, with only a few shaky moments.
Jessica Thornsby
Falconetti
On their second EP Falconetti create their trademark long, elegant soundscapes from a central core of throbbing delayed guitars, bass and drums. Each track is beautifully accompanied by singing voice, trumpet or strings, but the warm soft horn sound on track two complements their sound most fittingly. The three tracks clock in at just under 30 minutes and are dreamy and atmospheric, wistful but not depressing; an exercise in expansion and resolution. Deliberate, tuneful and very professional, this walks that fine line between saccharine playfulness and weird drone. Extended and emotionally wrenching at times, but not overindulgent, in fact this is rather pared down with a clarity, purity and intelligence both in terms of the sonic quality and the arrangements. The filmic quality leaves you wondering what great images went with the sound and if they were as good as those in my head.
Sophie Kemp
Kalena
Although this isn't within my usual musical cup of tea, I have found myself humming along to the catchy indie melodies and even found myself singing too!
Kalena are a very brit rock sounding indie guitar band and while they don't have a unique sound, they do have the ability to pen a catchy tune and write memorable anthems. Their songs have big guitar riffs and tap-along to drumming with an easy to listen to voice over the top, resulting in radio friendly pop-rock.
Their self financed, self promoted demo is a great example of what bands can do and with claims of over 5000 copies being sold, also a good example of what can be achieved.
Kalena are a band for all the Union-Jack-on-big-bodied-guitar fans who chant songs about past glories at England games, and there are a lot of you.
Andy Pearson
Solarflare - A Tale Of Two Cities
A lot of effort has gone into the making of this demo, fantastic artwork and nicely recorded songs.
Yet I just can't work out whether I love or hate Solarflare's music!
There are the plus sides, like exceptional use of keys and unusual guitars, but then there are the negatives, like how a lot of the songs seem to merge into one when this demo is listened to more than once.
A Tale of Two Cities is far more complex than other indie pop demos and has some very clever parts, it just seems to be missing something, and when they find out what out what it is then they will be on to a winner.
Stacey Adams
Allegro Fall - They Burn Tonight
Standard Alternative / Emo. Nothing more, nothing less. Musically this band seems pretty tight and each track seems reasonably passable, the problem is that songs like these are two a penny. It's so difficult to provide something different in this musical genre, which is a shame because Allegro Fall seem to have the talent there, but despite having all the trademarks of a collection of classic alternative songs they're just not quite cutting it.
Stacey Adams
Post\Modern\Geisha
Alt-rock act post\modern\geisha have produced a demo that is at times stunning in its subtlety. The musical interludes of 'The Long Run' in particular are so richly layered that each listen reveals something new.
A restrained use of synths give an edge to the band's more straightforward musical moments, with the blend of synths and more traditional instruments in 'Neo(istic)' sounding very near perfect. However, at times they show much less restraint, with the chorus of 'Marionette' being so overloaded with sound that the entire chorus sounds like a bad distortion effect.
That said, this demo undoubtedly has its moments of brilliance, with the opening of 'Marionette' so near perfection, it wouldn't sound out of place on any of the indie albums currently riding high in the charts.
Jessica Thornsby
Mint.Ive
The first unsigned band to sell out The Social, Mint.Ive and a four-piece from Nottingham with a passion for what they do, and a growing fan base thanks to a self financed release which sold over 500 copies and a gruelling gig schedule. With solid guitar hooks and passionate vocals, these tracks harness a lot of energy. Fiftytwo Charges and Control are both powerful tracks, but Rendezvous stands out as the sort of indie-rock gem that many of then bands these lads have supported would be proud of.
There is clearly a lot of potential here. Granted, it's not exactly my cup of tea, I'm more hand claps and glockenspiels, but Mint.Ive appear to be going from strength to strength and I wouldn't be surprised if the tracks they're putting down with Rakes producer Adam Whittaker don't see them moving up to the next musical level.
Hannah Webster
Fulibulbus
The Lake District's answer to the Ogopogo have been back to the Mad Lab to work on another trio of tracks of the crazy crossover variety. Last year's debut was of some interest to me, so I am intrigued as to what Fulibulbus will do next. By pulling out any remaining stops, it would appear. 'B-Triple O-M' slides in and opens up with a flurry of drum and bass beats before subjugating utterly with the catchiest brass hook since 'No Fronts'. Add some punk/thrash screams, rap and a totally unsubtle guitar line and you have one hell of a track - it's like Middleman's evil twin. 'Another Dirty Horse…' is basically an indulgent dub interlude that serves to separate a punchy track one from an equally belligerent track three, 'Badassassassassin,' which is roughly the House of Pain meets Sensor in a gloriously self-promoting show of strength. Now I am really interested.
Rob Wright
Gecko
Gecko's 'Flags EP' is definitely a record of two halves. Title track 'Flags' boasts an infectious chorus, and masterful tempo changes by front man Sam Bailey, who pitches every last line perfectly in ensuring they get firmly lodged in your head. After just one listen, this song will be bothering you for days, and chances are you won't see this as a bad thing.
While 'Flags' has the feel of a classic indie anthem, second song 'Bigtime Charlie' has the feel of a B-side. While it's a more upbeat tune, and makes a nice contrast to the slower 'Flags,' most of the vocals are difficult to distinguish, with the result that much of the song sounds very similar. It is only when the chorus kicks in and the vocals become clearer, that 'Bigtime Charlie' really comes into its own.
Jessica Thornsby
Unfinished Drawings
If you can't do it for yourself, do it for me
This 3 piece from Leeds have an unusual line-up, two guitars and a cello, and if for no other reason than that, they deserve a listen for daring to be different in a world of formulaic bands and copycat releases. There are some lovely, almost quaint songs contained on their first full length CD release. Some even have the quality of chamber music for the new folk generation, and Unfinished Drawings would fit in well on the same bill as Monkey Swallows The Universe. Their songs are jaunty and well played but do tend to all meld into one by the time the CD is more than half way done. I found listening to it in smaller bursts worked best, treating it as several EPs. That way I could appreciate more the delicate nature of the songs. They recorded these tracks at the Calder Recording studio on the slopes of the Pennines close to Hebden Bridge with producer Steve Fenton, who is also currently working with the Happy Mondays, and they do at times conjure up a relaxing pastoral scene. Not really a strong release then in terms of an album of songs, but interesting none the less.
Vivian Bonzo
Liz Ryder - Skyline EP
Liz Ryder is like concrete. Consisting of one part Greek, one part American, one part English and one part Welsh Sheffielder's can now be thankful that she is half Yorkshireman and also lives in Folsom, California - not a bad mix for a young musician. And musician she is as this EP displays her equal talent at the piano, behind the guitar and stretching her excellent, traditional folk style vocal. Her voice certainly has a haunting quality typified by the likes of Joni Mitchell and, latterly, Rachel Dadd - elongating the notes until they disappear into the ether. She does this perfectly on the title track, her tones lilting over a meandering backing. 'View from Pier 93' is perhaps the standout, closing the EP with six minutes of crescendo-ing piano and enchanting warbles. Definitely worth investigation at some of her gigs in Sheffield over the next few months.
Alex Lawson
www.lizryder.com
Exit Calm
Like the 90s never ended the blissed out grooves of Exit Calm's 'Higher Learning' dreamily drift out over the airwaves. Beloved of Primal Screams Mani, ex Verve guitarist Nick McCabe and touring buddies The Enemy they already have a keen Manchester fanbase. Gently spiking guitars blend to create a mellow sonic sound scape topped of with singer Nicky Smith's brooding shoegazer vocals. Floaty mutterings, broken up with jagged guitars 'Awake' could easily pass for a Kasabian B-side or jamming session.
Although they embody some of the typical Manchester sound the have enough passion to lift themselves above the swaggering posturing of many Post-Oasis bands. 'I've got no time for the music on your radio', they intone and never was phrase better uttered.
Kate Parkin
Die Emergency
Formed from the ashes of several seminal 'Hardcore' outfits, the debut Die Emergency EP carries all the trepidation of the average supergroup record.
Is it a case of too many cooks? Will there be a clash of egos, instruments, or even heads?
The answer to this is a resounding No, 'Split Iris' is a feisty opener, with hints of Mars Volta in its brooding instrumentals. With bass courtesy of the delightfully named 'B'HellMouth' from Send More Paramedics and guitars by Lucida Console, there is a fair bit of guitar wailing involved. 'Be Keratolytics' is like 30 Seconds To Mars without the movie star singer, all painfully strung out vocals and power basslines. Despite American influences, Die Emergency are keen to flaunt their northern roots, dilligently gigging around their local Leeds. Sounding like it's been sung in down a phone line 'We Were Never Here' has distinct faraway quality, though at times it sounds a bit tinny. 'Objective Tension' has a sweetness and depth missing from the other songs, using brass instruments to soften the blow. Following on from where their other bands left off Die Emergency is more than just a side project with the potential to go much further.
Kate Parkin
Deletreus - Visions Of Hell
What's evident here from the start of this three-track demo is the poor sound production quality. You're not reviewing the recording quality, I hear you say. "Correct" it can be so bloody annoying when reviewers and the like have to listen to a recording several times over. Deletreus are a four-piece Sheffield based thrash metal band. "Your Dying Wish" the opening song on this demo starts with your typical heavy guitar riff with drum and bass stabs bringing you into the main body of the song, you've heard it so many times. And the song continues in the same average clichéd manner. The second Track "Marma Duke" is four and a half minutes of annoyance and confusion with poor vocals and sloppy musicianship. The final song "Red Venom" starts off promising then not unlike the first two tracks soon starts to lose your attention. Unfortunately this three-track demo fails both on originality and in quality. On a more positive note, this band is young and has plenty of time to improve and develop better-crafted songs.
Greg Weller
SolarFlare
SolarFlare appear to be a straightforward guitar-bass-drums-keys band that unfortunately relies too heavily on slightly catchy guitar hooks that don't develop and thus end up monotonous. Their EP is upbeat and light, with something a bit sparkly about track two, but it's little commercial sounding and crowded in places, the instruments not balanced properly. The vocals are actually quite awkward and the lyrics lack conviction or edge, consisting of fairly bland storytelling. The songs lack pace that would liven them up and mostly they could lose about a minute in length. They are perfectly competent and the best bits are when the guitar is allowed to soar through, though it could use the opportunity to do something a little more inventive. Track four is the most listenable, clocking in at under minutes with more energy and punchier drums. Mediocre.
Sophie Kemp
The Theories
Believe it or not, Pleads, Needs, and Dirty Deeds is more than the end of a good night out. It's also the new EP by Sheffield based indie-rockers The Theories, who've been entertaining audiences around Sheffield since their chance meeting and subsequent piss up, during which they arranged their first practice. It must be said, lady luck has produced some good music. From the first track, 'What I Need' it is evident that the band are ready to break out of obscurity at any time. The relaxing melodies and impressive vocals would trick any listener into believing that they were professionals, yet they remain unsigned. Right through to the slightly heavier, final track, 'She Showed Me Her Thing', the EP is truly a gem, hidden away in the depths of Sheffield music scene, waiting to be heard by the right person. It's only a matter of time.
Lee Johnson
Sound Club
Its clear from the first few seconds of galloping drums and punchy guitar of first track 'Gamblers Dream' that Sound Club could have come straight from the mid-Nineties, each of the three songs on this demo coming equipped with Liam Gallagher-esque vocal swagger and lyrical self-assurance. The fact that the band themselves cite Richard Ashcroft, Noel Gallagher and Paul Weller amongst their key influences indicates that this may be exactly the point however. If a criticism of these songs could be made, it's that the up-tempo, guitar-driven tunes hardly differ at all in sound or style. Taking into account that there are only three here, however, perhaps that's a little unfair - with their infectious vocal hooks, Sound Club have the potential to start a riot live.
Michael Russam
www.myspace.com/keepitsoundclub
The Reveres
It's difficult to know where to start with this one. If a demo's rubbish, or really good then at least you've got something to write about. The Reveres are neither, although they probably stray a tad closer to the former than the latter.
There's a bit of energy, which is nice to hear. But if it's ten-a-penny indie-rock your after then this is your new favourite band. I listened as the songs washed over me like a thimble full of lukewarm water.
The singer doesn't really have the charisma or distinction in his voice to drag the songs up to a higher level and he too sounds like a million others in the Sandman demo review drawer. And despite plenty of lead guitar the hooks often fall flat. But then it's not dreadful either. I just can't find any positive points to write about.
Joe La Fors
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