Outside This Picture

I love this man, was an exceptional gig and got some great shots. Johnny Marr live review for The Linc. 

For a band that mean so much to me, my feature about Crystal Castles: it's over for now. 

Interview and Live Review

Eagulls @ Southampton's Lennons. Live Review and Interview, 15th October

2014
BY OSCAR NICHOLAS

"We don't really have influences, we try not to get influenced by anything. We want the music to be our own.” This is what George Mitchell of Eagulls told me in the basement of Southampton’s Lennon’s whilst eating cut up carrots. 

I arrived at the venue in the pouring rain, as the band were doing sound checks. George had a plastic bag on his head and they played Tough Luck with the supporting act Bad Breeding watching.

Southampton was the seventh date of Eagulls’ first headline tour. “We like to think of ourselves as a live band” explained George, “we’ll be playing a new song tonight, it’s untitled. We like to play a track live before we name it.” 

Before the show George and Eagulls’ drummer Henry Ruddler duck taped two milk crates to a wooden stool along with a projector and DVD player. During the show this lit up the stage with black and white images of soldiers marching.

They have a raw feel to them which is emphasised by their make shift lighting system. “We don't use a set list”, George mentioned in a discussion about their performances. Henery interputed the discussion “I am the set list”. They have simple methods to create their chaotic sound and performances. For example mid show guitarist Mark Goldsworthy used a hand held fan to tremolo his strings. 

The set was a hectic. There were no barriers and if there were they said they would tare them down. They started with Nerve Endings, from their debut, self-titled album. The stage was small and the mixture of Eagulls’ punk style and abstract lighting created juxtaposition between how they presented themselves and the brutal sound. George’s vocals howled, cracked and blended with the reverbed fuzz of guitars. 

The band were on top form. George was bent over with his elbow in the air and mic to mouth as he sung. They continued and played tracks from their debut LP such as Hollow Visions, Opaque and Amber Veins. In the punk style the set was reassembly short. They played for just over an hour finishing with Possessed. The song was elongated and shouts of “I’m, possessed” resonated through the venue. When their set was over they just walked off stage into the crowd.

“Guitar music is always going to be there, people always go back to it how can it be dead?” 

“Guitar music is always going to be there, people always go back to it. How can it be dead?” - George Mitchell

Review 11

THOM YORKE - TOMORROW'S MODERN BOXES

2014

BY OSCAR NICHOLAS

Thom Yorke's new album and added IQ test have released a storm in the past weeks. Tomorrow's Modern Boxes is without doubt one of the biggest releases of 2014. The status that is Thom Yorke and his alternative systems for releasing music mean that everyone now knows about the album as it spreads across social media and blog posts (such as this one).

This is Yorke's first solo album since The Eraser in 2006 and first material of any form since Atoms For Peace released Amok in early 2013. Besides all the commotion behind the record it is an interesting addition to the Radiohead frontman's armoury.

In a letter written by Thom Yorke and producer Nigel Godrich, they explain "As an experiment we are using a new version of BitTorrent to distribute a new Thom Yorke record." BitTorrent bypasses the hosting costs, or "'cloud' malarky", as they put it. Weather this adds or subtracts from the album is an argument in its own right. 

As a record in itself Yorke has created something based highly on samples and synthesisers. Tomorrow's Modern Boxes appears to be just as much an experiment musically as it is through distribution. Guitars are out the window completely and electronic alternatives are embraced. Glitchy textures and ambient noises merge with Yorke's vocals to create an album that sounds like a futuristic Radiohead without all the participants, it has charm to it at points.

Tomorrow's Modern Boxes is certainly not something to throw on casually, a level of dedication is needed. Opening track A Brain In A Bottle is a key example of Yorke's use of progressing sound. Almost in a indie house style, if such a thing exists. The song comes with a music video that consists of Yorke in a white room moving about, edited in the style of a scratched DVD. So that's a bonus.

The album has a contrast to The Eraser, which had much more melody and less abstraction to it. Guess Again is the closest Tomorrow's Modern Boxes gets to a Radiohead track of any sort. Although is not easily recognisable on first listen, the track uses a piano loop from Radiohead's Pyramid Song as a foundation. 

Mid LP Yorke gives a six minute long track The Mother Load .The song is created from a selection of vocal and instrumental samples. It sounds clean and well produced, it peaks through the digression of samples and Yorke's vocals merging into a reverbed mist.

Of course it wouldn't be a Thom Yorke record without some sort of statement in there. There's No Ice (For My Drink) is supposedly a message on environmental issues, yet all I get from it is ambient sounds and obscure vocals. It is a interesting listen and Yorke create a transition of layers beautifully at points but it certainly doesn't make me want to donate to Greenepeace. The rest of the album literally blurs together, with a repetition of sounds transgressing behind the final three tracks. Nose Grows Some is the last song on the album, its a slow tempo piece with soft vocals and organ like synthesisers. 

Tomorrow's Modern Boxes is Yorke's most electronic record to date. The album however viewed is a record that has created attention. It may not be the revolution is music distribution Thom Yorke was hoping for but it's certainly getting people excited for Radiohead's next move. 

This article was also available on The Linc

Rating: 6

Exceptional Single: 2

EYEDRESS - WHEN I'M GONE FEAT. GEoRGIA

XL Recordings 2014
BY OSCAR NICHOLAS

Sometimes I go through phases, get out of the loop a bit and feel like there is noting good coming out of anywhere. I just lose touch and feel uninspired. Then something might just pop up. One song motivates you. Creates an experience. It's needed, a positive, meaningful piece of music.

Eyedress, a personal favourite of mine in the current swing of things has just released a collaboration with London based artist GEoRGIA. The track is called When I'm Gone and is the first single from Eyedress' forthcoming debut LP Astral Traveling Man. It follows very closely to the amazing Hearing Colors mixtape released earlier this year.

It's a glossy pop track with a dark tone. Reverbed vocals blend perfectly with bass and drum loops. The sinister voice of GEoRGIA starts the track with 'you're heart, you're heart' over a simple drum beat and transcends into that future rave sound thats iconic of the Filipino producer. The song is a clear evolution of Eyedress' work. His new album is set for release in spring of next year and if this track is anything to judge by it could be huge. 



Rating: 9

Review 10

SHUNKAN - HONEY, MILK AND BLOOD

ART IS HARD RECORDS 2014
BY OSCAR NICHOLAS

Shoegaze, that rough, hazy guitar sound that blends with vocal cries fuelled by an array of effect pedals. Originally coined from bands in the eighties such as My Bloody Valentine and The Jesus & Mary Chain. Motionless live performances that involved looking at their feet and pedals led to the term shoegaze, for apparent reasons.


20 year old, New Zealand based artist, Marina Sakimoto, AKA Shunkan has just released her debut EP Honey, Milk And Blood. In the spirit of shoegaze it is loaded with guitar strums running through what sounds like endless reverb. 

The opening track on the EP, Dust In Your Eyes, was initially released as a single and was Shunkan's first step onto the scene. It's a beautiful song, built from simple guitar layers under Marina's young, distorted voice. She carries the song with vocal cries and lyrics like 'feeling things just ain't fair'. Heavier drums and guitar riffs run through the chorus and emphasise the torturous love story the song appears to be based on.

Honey, Milk And Blood has a charm to it. The sound and style of the tracks might not be everyones taste but the dirty guitars mixed with passionate vocals and what can assumed to be a cello create a juxtaposition that holds its own. Tracks It's Not Your Fault and Hail progress the EP with distorted, dreamy rhythms in a beautiful contradiction of layers.

Over is the cleanest track on Honey, Milk And Blood and works as a palate cleanser. 'Couldn't you wait until I was over' is sung over a simplistic guitar and bass. However the distortion pedal is stomped back on for the final track Wash You Away. Finishing the EP in a almost simplistic Arcade Fire style. Wash You Away ends with a step back from all the haze and finishes the record with a clean guitar and vocal repetition. 

Shunkan is translated as 'in the moment' in Japanese, something all artists want to be. Honey, Milk And Blood sounds present, lo-fi music currently is holding its own revival and if Shunkan can make shoegaze in the moment again then I guess she is ahead of us all.



Rating: 8

Review 9

PROTOMARTYR - UNDER COLOR OF OFFICIAL RIGHT

HARDLY ART 2014

BY OSCAR NICHOLAS

In this revival, there will be kings and there will be peasants, Protomartyr will be among the rulers. Their latest album Under Colour Of Official Right is the indie guitar punk sound our time is craving. Lo-Fi is once again becoming high time music, much like Eagulls, Together Pangea and Skaters there is a booming appreciation for DIY. Protomartyr sound like they are making music how they want and making it passionately. The Detroit band have substance and real meaning without wasting any time.

Opening track Maidenhead starts the LP of casually, effortlessly gorgeous. Solid drums and twanged guitar layer simplistically until heavier strums crack and a glimpse of power shines through. The track sounds classy even if 'Shit Goes Up, Shit Goes Down'  is sung repetitively. 

Protomartyr's post-punk style is a crafted art, they have genuine presence and nothing sounds forced. Their latest LP is a clear progression from their debut album No Passion All Technique, it is cleaner and more mature, yet with all the same passion just implemented differently. Under Color Of Official Right has a back and forth flow that creates tension and emotion beautifully as their tracks peak.

Joe Casey’s deep and distinct vocals bellow through the LP with a post-punk and a almost Iggy feel. Under Color Of Official Right’s third track Want Remover demonstrates the bands catchy, no bullshit sound with infectious chorus transitions. Guitars and drums build and build until all is full flow and Casey howls ‘and I'm free free free from the dark’…… The tracks only downfall is that it is cut too short and your left thirsty.

The LP moves on with head nodders like Trust Me Billy and Pagans until Tarpeian Rock shows the sociological, conceptual side to the band with a Sonic Youth style spoken word lyrical foreground. Protomartyr, like many other lo-fi acts, seem to take inspiration from their environment and contempt for many of its inhabitants. ‘Greedy Bastards, rank amateur professionals, emotional cripples, gluten fascist’ start the list spoken over a simple beat and panned, distorted vocal samples. Not really the radio friendly fortune making track.

The majority of tracks on the record don't reach above two or three minutes. However the albums golden gem Come And See runs just under the four minute mark. By far one of the best records of the year so far, it has that hair raising passion reinforced by the bands heavy hitting sound that makes the repeat button addictive. 

Protomartyrs future is sure to hold more than just the miserable city inspired post-punk, yet for now it sounds fucking good. 

Rating: 8

Music To The Ears: 1

WEST COAST HOT SHOT LIST

BY OSCAR NICHOLAS

The West Coast of America, undeniably one of the greatest places in the world for surfing, hazy days, reverbed guitar and whining vocals. The style of music is a formula that I have loved for the last few years of my life and transcended my obsession with music one step further. West Coast is a genre in its own right, it can merge punk, pop, rock and even psychedelia. It doesn't even have to be from California, it just has to not give a frick and be timelessly fresh. I thought it only right to express why it is the west coast is so freaking awesome, dude (maybe I don't suit that though). Here's The Music Picture's top five West Coast acts. 

For all the artists featured and more check out this link for The Music Pictures West Coast Playlist.

TY SEGALL

1.   Top of the list has to be without a doubt, the unsung hero of the West Coast, Ty Segall (pronounced Tai, just in case you were wondering). Segall has featured in a plethora of orange county, underground bands, he has had huge influence on the scene and been solo since 2008. 

Hard hitting riffs and power house beats under his unique Californian growl make his music exceptional. A rock n'roll, surf, punk attitude sound. What pushes Segall above is the sheer amount of music he has produced. Since 2008 he has created five studio albums and one joint album with White Fence all of exceptional quality. He calls his music garage rock, but epitomises the West Coast.

FIDLAR

2. Drugs, screams, alcohol, guitars and drugs make up Fidlar. West Coast stoner punks who have song names such as Cheap Beer, Cocain, Shrooms, Crackhead Ted and The Punks Are Finally Taking Acid, they create wild shows and energetic records. The Los Angeles band formed in 2009 and have some of the best band illustration around.

Fidlar stands for a saying the band heard from local skater kids: 'F**k It Dog Life's A Risk'. Made up of 4 guys they released their debut, self titled album last January. They are now hot slots at British festivals and are currently touring with Chicago rockers The Orwells.

I was lucky enough to see them in 2012 at Reading Festival and to rub singer/guitarist Zac Carper's head in a mosh pit. I was also lucky enough to see them at The Garage, in London in Febuary 2013 and once again rub Carper's sweaty hair (favourite anecdote).

BEST COAST

3. A softer side of the West Coast brings you Best Coast. Fronted my the iconically cool Bethany Cosentino. They have reached huge success with their lo-fi style, chilled reverbed guitar and catchy vocals. Their breakthrough record, Crazy For You, lead the band to be a key contender on the festival circuit and connected them with childhood idols such as Green Day, No Doubt and Iggy Pop who they've performed and recorded with. 

Their energetic live shows and fast passed rhythms make them a perfect West Coast band. The duo formed in 2009 from Los Angeles.

WAVVES

4.Happy go luck post-punk, surf rockers Wavves formed in 2008 from sunny San Diego. Stoners with fast paced strumming and the West Coast attitude. They are refreshing to listen to, with a sound that combines indie vocals with mass amounts of reverb and awesome lyrics. 

Friends with other West Coast acts like Fidlar and No Age they have wild joint shows creating huge buzz for the West Coast scene. 

Breakthrough record King Of The Beach pushed Wavves to success in 2010 and their latest album Afraid Of Heights even landed them on Grand Theft Auto V. 

BLEEDING KNEES CLUB

5.As the only non natives in the list, from the Australian Gold Coast, Bleeding Knees Club hold as much of the West Coast sound as any other act. They are so lo-fi they could have easily been recorded 30 years before they were even born. Made up of duo Alex Wall and Jordan Malane, they both share the microphone.

They recorded their debut album Nothing To Do in 2012 in New York, produced by Dev Hynes, aka Blood Orange. 





To steam all the West Coast artists featured on this list and more check out The Music Picture's West Coast Playlist.

Review 8

METRONOMY - LOVE LETTERS

BECAUSE MUSIC 2014

BY OSCAR NICHOLAS

The Devon four piece, Metronomy, have produced their analogue fuelled, fourth album Love Letters. As a follow up to their masterpiece The English Riviera, the record is all together slower and more emotive. The album shows why the band have such a status in pop, with a subtler vibe. Still with the same unique Metronomy, indie/electro feel, the LP has added funk and motown influences, which shows a different side to the band.

The first single released from Love Letters was I'm Aquarius, as an album teaser. It has been on repeat on radio music shows since it emerged and is gaining more and more attention. Catchy female vocals loop: 'Shoop doop doop ah' behind a bassy analogue organ. Good chilled indie that progresses with texture.

Opening track The Upsetter is frankly absolutely gorgeous. Every layer adds to it perfectly and subtly. It sways through analogue synths and acoustic guitar that build behind soft vocals sung as a tenner an an octave higher than usual. It has a hum to it. The track alters the stereo direction of Joe Mount's vocals, with an added clean guitar solo that pushes the sound into something superb. The Upsetter feels just as strong as any of Metronomy's hits such as, The Bay or Heartbreaker. 

Tittle track Love Letters is the highest velocity record of the LP. Its Motown gloss and catchy beat makes it a great indie dance anthem. It starts slow until the songs tittle booms through female vocals, and Mount's voice passionately sings 'Love letters all I see, On every day I read'. The track then transgresses to a perfectly implemented trumpet solo (don't say that to often these days).

Metronomy are set to tour the album and play festivals. Although it hasn't felt like they've been away Love Letters is a comeback for the band. The album was recorded entirely in analogue at London's Toe Rag Studios, notorious for their old school approach to production.

The move to tape tracks didn't stop Love Letters from sounding fresh. The classic instrumental track Metronomey started with is present in the LP with Boy Racers. A warped, bass, filled rhythm sits below smooth drums and altered key effects create a catchy refresher within the record.

A slower more sensitive collection of tracks close Love Letters: Call Me and The Most Immaculate Haircut play with a more alt balled style composier.

Reservoir the ninth song on the record has the repetitive listen touch about it. Almost sounding like a eighties arcade quest it bounces Love Letters to its penultimate beat. Weather you want to relate 'reservoir' as a comment to Metronomey's previous album, The English Rivera, is for Mount's brain to decide, the track is beautifully composed and ironically happy as its digital roots.

Just as it started Love Letters finishes with a slow, simple track, Never Wanted. 'But it gets better' is sung over a bass riff and chirpy guitar flicks until the direction turns to a more misty, ambient sound and then gets dropped into its fuzzy analogue closure.

Although Love Letters could be called a less impactful album compared with Metronomy's previous compositions, the LP feels like a real and more mature side to the band. A step up from indie niche pop to full international status.

Rating: 8

Review 7

EAGULLS - EAGULLS

PARTISAN RECORDS 2014
BY OSCAR NICHOLAS 

When an old formula is given a fresh take magic can happen. Eagulls self titled, debut LP is solid and hard hitting. The new wave, punk rockers fill the album with reverbed riffs and shouts of passion. Like an angry Joy Division, the band pound through the album with a raw style.

Opening track Nerve Endings starts things off with a high tempo, misty punk explosion. Hard drum beats, heavy bass and phased guitar work perfectly with the howling vocals of George Mitchell overlaying. 'Still nerve endings, Still nerve endings wont die' are the lyrics that peak the power house track, perfect for a punk sing-a-long. As an opening track, Eagulls go full throttle and don't hold back throughout the album.

Based in Leeds the five piece are adding to the so called 'guitar band revival'. Eagulls are gaining attention in the US, recently performing Possessed on The David Letterman Show, they are bringing their grundgy ora to the masses.  Their debut LP has that attitude and undertone that gives them the rebel appeal.

Although raw, they show in Eagulls they can be catchy too. Tough Luck the fourth track on the record has a more melody driven backbone. Echoing vocals give the track an element of space and repetitive cries of 'tough luck'  lead over fast passed guitar and drum layers.

The manner lyrics are cried, screamed and expelled shows the passion in the record. Footsteps and Fester / Blister are breathtaking displays of throat power (literally from some band members). The tracks swoop in and out of hard beating drums and guitar to unexpectedly soothing bridges that build you back to the full slam of their sound.

Through all the feedback and attitude Eagulls debut is not going to be a record to slip through the radar. They are set for a multi-continental, mammoth tour with dates set until August so far. Eagulls are not a new band either, they have been working on their craft for years and this might be a crucial moment to leave the stain they want.

They end the album with Soulless Youth, which has similarity to a previous single Council Flat Blues. As they started the record with power and attitude they end it, howling the songs tittle over the buzzing sound into a fade.

Rating: 9

Exceptional Single: 1

THE ACID - BASIC INSTINCT

INFECTIOUS MUSIC UK 2014
BY OSCAR NICHOLAS


Sometimes with truly great music it is impossible to pin point why it has such attraction. Under layers and layers of care there might be something that makes it exceptional but it could just as easily be a combination of everything. Everything in its right place, timed to perfection with the right amount of passion. A song that can change the pace of your heartbeat. Although perceptions of sound vary depending on the individual and their ideas of perfection, some music seems to stand above. To have a piece of sound that provokes such feeling is not an everyday event.


The Acid - Basic Instinct, this is one of those songs that make you want to blurt out cliches about the hairs on your neck and the unsteadiness of your heartbeat. The first encounter with Basic Instinct is an experience, heightened by the music video from Dugan O'Neal (available at Nowness).

Consisting of Brighton based Adam Freeland, Californian artist Steve Nalepa and Australian producer Ry X. The Acid aim to make genre-less music. The combination of acoustic guitar, electronic hits and noisy distorted peaks build tension beautifully. All toped by soothing vocals that haunt your ears and layer into harmonies that eventually explode with the screams of "I'm tired of your warning". It then turns into a haze and fades out. 

The music video was created especially for their first track and features LA dance group WIFE. The slow-motion, out of this world movement and visual imagery compliments the music perfectly. 

The Acid's self titled, debut EP is to be released 14th April.

Rating: 10

Review 6

CYMBALS - THE AGE OF FRACTURE

TOUGH LOVE RECORDS 2014
BY OSCAR NICHOLAS

Faith in indie with joy and bounce. Cymbals latest album, The Age of Fracture, holds what every summer record needs (apart from its January release). The London four-piece named the LP after a book by Princeton academic Daniel T. Rogers. It follows the books themes based on history and society. Cymbals have created music with substance and concept which frankly is a well received breath of fresh air. To be honest The Age Of Fracture sounds like Radiohead on LCD.

From the start, The Age Of Fracture builds into a haze of synth, guitar and catchy drum beats. Opening track Winter '98 feels as though you are ascending into a mist of tip tapping melodies. The track has been produced in a way that gives the impression of space. Sung in french, the unique, crying, vocals of Jack Clerverly give the signature Cymbals touch.

The ear-worm of the record has to be the electro-pop formulated, finger on repeat, The Natural World. However the lyrics have a darker mood than you would expect from the bouncing rythem and flow. The song's concept is at a juxtaposition. 'I don't know enough about you, to be kind, to be kind to you' are the lyrics that peak the records chorus. The Natural World has the awesome quality that allows it to get better with time.

As the LP continues it feels like a journey. Regardless of the moody lyrics the record has a very bright sound. Tracks You Are, Empty Space and The 5% sway through comfortably with a series of interesting effects.

Just like any good conceptual album The Age Of Fracture has a short interlude track, The Fracture Of Age. The beat of which flows into the charismatic Like An Animal, a previously released single. The line 'No bodies looking and no one cares' is repeated before the layer of indie pop melt into more synthy, guitar twanged smoke.

The colourful indie music has a summer vibe to it, which is strangely pleasing mid February. Erosion the eighth track on the LP especially has a warm sound to it. Perhaps you could call it an indie barbecue song.

On the non-bonus edition of The Age Of Fracture the second last track is surprisingly titled The End. A 7 minute long, bi-linguale song, that sounds like a alternative pop, Super Mario soundtrack.

The darkest track on the record, Call Me, is a raw taste of Cymbals. Its bass filled melody, no vocals and slow tempo giving it a more serious vibe.

The Age Of Fracture: Bonus Edition gives one more goodbye. Smaller The City is a sweet finale, another tip tapper, it is sure make you bob your head, well at least a bit.

All together it is a hopeful record to be enjoyed in any climate. However I hope to be hearing Cymbals in a festival when the sun does finally come out.

Rating: 8

Review 5

KWABS - WRIGHT OR WRONG

WARNER MUSIC UK 2014
BY OSCAR NICHOLAS


The latest EP, Wrong Or Right, from digital blues artist Kwabena Adjepong aka Kwabs, is one of the most soulful pieces of music to be released this year. Tracks glide in a retro, futuristic style through the combination of Kwabs timeless vocals mixed with modern production. An otherworldly counterbalance is created. The sound is clean and solid. Although his music holds resemblance to artists like James Blake, it still has its own unique quality.

Before Wright Or Wrong the London based singer showed off his raw talent through several simplistic performances on YouTube. Influences from gospel and R&B are clearly present in his style. Kwabs latest EP however -under the warped construction of London artist and producer SOHN - is a different dimension of soulful bliss.

Opening track Wrong Or Right is emotive and characterful. It has a chilled backbone of an arpeggiated synthesiser that hides under Kwabs smooth voice. I don't want to be your leader, I don't want to let you down, are the cold lyrics that greet you. The poetic side of blues is present regardless of the computer based beats. As the song builds it feels more like a journey than a fight. It peaks with soulful, vocal outbursts.

Second track Last Stand has more power. Far from chirpy, the sound creates tension. Warped rhythm and transcending bass run throughout and raise the reverbed vocals. Last Stand is the peak of the EP, it has that edge from a tune to banger. As Kwabs' lyrics layer over and he sings still burning from the heat of your touch it becomes something special and mystic. Defiantly a track to watch this year.

The EP has a more chilled vibe once you reach the third track Spirit Fade. The sound is a combination of analogue arcade and unique vocals.

As a finale opening track Wright Or Wrong is jacked up with a house remix by producer Ben Pearce. Almost doubled in length from the original, the 6 minute remix compliments the EP. The track has a Disclosure/Bondax feel. It is a unusual farewell to a hopeful artists first impression.

Rating: 7

Review 4

CRIM3S - STAY UGLY

UNSIGNED 2013

BY OSCAR NICHOLAS

Its such a shame when incredible sound and talent slips so far under the radar. The understated EP of 2013 has no doubt come from Crim3s. The twisted and dirty poundings from their second EP Stay Ugly deserves more recognition, in this writers opinion, than most big artists have received over last 12 months. Crim3s is formed of alternative model Sadie Pinn on vocals and her partner Rou Rot producing the tracks. The duo create witch-house/crank-wave masterpieces, with a unique Crystal Castles texture.

From the start Stay Ugly hits you full capacity. Warped layers of distorted bass and synths sit below Pinn's howls and screams. Opening track Lost is disgustingly gorgeous. The vocals are dissected and smothered in reverb over the crazy back beat. If you listened to it on drugs I imagine it would be terrifying.

Although hectic and intense Crim3s have an overlooked subtlety. The second track of Stay Ugly, Pansy  is full of sorrow and pain. I'm sick of this Pity, Mark my hate, are some of the emotive lyrics featured. And throughout the EP feelings are spilled over the almost trance like music. In Dose Pinn's vocals come out as cries, nothings here and nothings clear.

Stay Ugly is a follow up to the duo's self titled debut EP. The deathly, 8bit, devil arcade style of Crim3s is smoother than before. However they are yet to produce anything would be out of place in an sweaty, body filled, underground rave.

The closing track Stress, has a playful start and almost feels bouncy. It whirls back and forth to a build of bass and samples. After the pounding and faded screams of the word suffocate, silence may seem uncomfortable.

It may be that as a huge Crystal Castles fan, anything that holds its own in the genre I feel deserves recognition. Stay Ugly has the sincerity that the Alice and Ethan format needs to be triumphant. Its not easy being dirty and provoking but this EP feels right even if I can't pinpoint it.

Rating: 9

Review 3

EYEDRESS - SUPERNATURAL 

XL Records 2013
By Oscar Nicholas

If there is one artist who deserves recognition right now, it's Filipino laptop producer Idris Vicuña aka Eyedress. His debut EP Supernatural was released on XL Records and it is not a to be taken lightly.

His music is haunting. The tracks are twisted, echoed and beautifully nightmarish Fruity Loop productions. Supernatural opens with Vicuña's power track Nature Trips. It is eery to say the least. Every repeat builds you to the same place of bliss. The synths are euphoric and the vocals glide with the music. A simple bass line runs through the track, with tip-towing synths and drum effects scattered along the way. The lyrics and gentle cry of the vocals create the tension and an addiction to the repeat button. Sung by himself, it was originally thought that the vocals were from a collaboration with female artist Skint Eastwood. Lyrics such as I’ve been doing drugs cos I don’t give a fuck, peak the track and show you Eyedress's defiant side.

The ethereal bedroom beats Eyedress presents on Supernatural border on chillwave, but darker. Biolumine and Tokyo Ghost have a relaxed touch, synths and soft vocals give an element of innocence compared to other tracks. Lyrics in Tokyo Ghost show tenderness and pain, if there's someone else I don't want to know. The track is a modern, futuristic love song frankly.

We are left with the sour, mean No Competition. It is the only instrumental on the EP and shows what Eyedress can do with a secondhand laptop in his bedroom. The dirty, distorted synths sound frantically all powerful. Inspirations from hip hop are present as it smashes bass through the speakers. It would not sound out of place in a horror movie. A frightening end to an epic introduction of what I hope to be a future underground light.

Rating: 8

Review 2

FKA TWIGS - EP2

Young Turks 2013

By Oscar Nicholas

What will be the sound of 2014? The trip hop beats and soulful vocals created within FKA Twigs latest production EP2 might be part of it. Although the name is dull and unimaginative the music speaks for itself.

The FKA, standing for: formally known as, was an addition after another artist of the same name complained. The make do nature of her tittle however does not reflect the character of the lady.

EP2 is not a regular, even comfortable sound. It is a lo-fi at its most complicated. The trippy beats have come from producer Arca, whose recent work includes collaborations with Kanye West on Yeezus. The music is disjointed and comes from every direction. Crossed with FKA Twig's dark lyrics the EP is a provoking production. The manner in which the music builds is unexpected, clicks and smashes drowned in reverb ever present. It is unique and layered.

Her lyrics feel as if they have come from the deepest parts of her being. The breakthrough track Water Me, sings 'He wont make love to me now, not now I've set the fee'. The meanings of her lyrics are often about the cold side of relationships, physically and mentally. Twigs is in her mid twenties, yet she sings as though she has been tormented for years beyond.

The chunks of noise, swells of bass and howling echoes that construct the music lay under her voice. As you listen she is ever present, she is singing next to you and you can feel her. The track Papi Pacify lets her voice resinate in. Even with the fragmented samples that construct the songs peak, she still is the main source of power.

EP2 is sharper than her previous productions. Its is more serious and chilling than Breath, her first four part EP. She sounds developed and mature in comparison to Weak Spot, her first single.

The four track EP is finished with Ultraviolet, a song that sounds like its from a urban dystopia. 'Hold my hand in error' is sung by FKA Twigs. The track is left on spirals of echoes, until it blends into silence and leaves you....

Rating: 8