Let’s get this out of the way now; Robyn’s first album in over 5 years is short. The Swedish songstress announced earlier in the year that this would be the 1st installment of three records she plans to release in 2010. That’s a risky move and no mistake but I’m more than happy to report that not a single minute is wasted. I’d rather have 30 minutes & 8 brilliant tracks than the bloated efforts of say, Bionic by Christina Aguilera, with her myriad of collaborators but no cohesive sound or direction.

There are no duff tracks but there are three absolute standouts. The first is the melancholy, disco soliloquy ‘Dancing on My Own’ which is the song of the year so far. It works as a haunting dance floor anthem and layered portrait of unrequited love. The 2nd is ‘Cry When You Get Older’ which displays Robyn’s knack for smart, relatable writing ‘Hey girl in the strobing light what ya momma never told ya, is love hurts when you do it right, you can cry when you get older’ all set to an irresistible electro beat. The 3rd is ‘Fembot’ which continues her ongoing android theme covered previously with “Robotboy,” the interlude “Bionic Woman” and last year’s “The Girl and the Robot” collaboration with Röyksopp. Fembot is intelligent, bouncy & lyrically schizophrenic. In order words, it’s unconventional pop at its best.

The ambitious ode to Jamaican dance-hall ‘Dancehall Queen’ takes a few listens & may not appeal to everyone but it’s symptomatic of Robyn & her playful style. It’s just bloody good fun. The collaboration with Röyksopp on ‘None of Dem’ features a broody synth rift that works beautifully with the tone of the track; utter disillusion. The addition of two ballads ‘Hang With Me’ & traditional Swedish song ‘Jag vet en Dejilig Rosa’ slow down the pace somewhat but both are typically heartfelt & ultimately moving.

The handful of popstars who write their own material have become increasingly more cerebral & Robyn is right at the head of the pack.

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Brazilian born Rodrigo Moratto, drops his debut single, Whatever, Whatever on 22^ndMarch 2010.

The track has raced up the specialist commercial pop charts, reaching number 10, and now Rodrigo is preparing to unleash his robo-pop assault on UK audiences. Whatever, Whatever is the first single to be taken from his debut album ‘Budz in a Soundrop’, released on 7^th June 2010.

http://www.myspace.com/rodrigomoratto

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Hailing from Ireland, Black Soul Strangers are a four piece melodic pop rock outfit currently making serious noise on the London live scene.  Drawing inspiration from artists such as Joy Division, Queens of the Stone Age and Damon Albarn, they release their brand new single ‘THE HAUNTING’ on March 14th through Squeek Records.

This track has rarely been off the stereo at UK Music Jobs towers since it landed on our desk a few weeks ago. Expertly produced it’s a powerful and evocative slice of soul searching that marks the band out as serious contenders for next big thing status.

Enjoy!

www.myspace.com/blacksoulstrangers

http://www.twitter/com/B_S_S

www.facebook.com/pages/black-soul-strangers

Matt Williams.

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Here we go with a run down of what was hot this year in music…

10 – Patrick Wolf – Hard Times

Patrick Wolf was not on my radar before I caught his performance at this year’s Great Escape Festival. Hard Times was the 2nd single release from his album ‘The Bachelor’ and makes a statement with lyrics like “mediocrity [is] applauded” and “ignorance is still adored” against a backdrop of rock guitars, celtic strings and electro beats. Wolf is creative, original, musically accomplished and always has something interesting to say.

9 – Frankmusik – Better off as Two

Better off as Two is one of many excellent tunes on Vincent Frank’s debut album ‘Complete Me’. Showcasing his falsetto vocals this also benefits from quirky production and a rousing chorus. He’s also brilliant live and was arguably one of the highlights of Bestival 2009.

8 – Hockey – Song Away

Hailing from Portland Oregon Hockey have been making waves on the festival circuit in Europe throughout the summer and this track is the 3rd release from their debut album ‘’Mind Chaos’’. It might be blatantly commercial but it’s neatly peppered with references to the 80’s and a real toe tapper. I love this band and this track never gets dull.

(more…)

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“Whatabitch”
Chess Club 23^rd November
www.myspace.com/kurranandthewolfnotes

Kurran and the Wolfnotes debut single ‘Whatabitch’ stands as the perfect introduction to the way that this band have brought an unmistakable noughties twist to the alt-folk sound, with an playful hint of The Strokes complimenting the otherwise straight up trad-sound. With New Yorker Kurran’s faltering, heartbroken croon and textbook Isle of White Festival circa-1968 guitar jangle it’s half medieval minstrel, half basement bar sleaze.

On the subject of the title they’re quick to stress that no one’s calling anyone a bitch, and that the term is used purely in the weary expressional sense, lest the feminists gather at the gates. Kurran explains, “It might not be the most romantic title but it’s about, from a guys perspective anyway, maybe getting the shorter end of a stick. There’s always got to be one person, and in this case it’s me.”

But anyway, they’re bored of talking about how they got together and they hate explaining what their songs are about, but our wolf based icebreakers (Prime example: wolves mate facing away from each other) prompt a more enthusiastic response. So on the cusp of the release of their debut single we invite them, currently recording in a spider infested garage in North London, to ponder what the future holds.  Let’s get conceptual. What will the single they release in twenty years sound like compared to this one?

GARAGE SESSIONS

Whatabitch || Garage Sessions from Kurran and the Wolfnotes on Vimeo.

“Well it’ll be after the technological singularity, so you’ll just think of a song and you’ll hear it,” says Kurran, “But then it’s always the same, whenever technology goes too far people go back to the retro thing and we’ll be there shouting, ‘Here come the luddites!’ Just like now I guess, because after nu-rave and that, shall we say blip, fiddles are hot again, which is fine with us.”

Groans echo around the table at the emergence of the term “buzz band” but there’s a general consensus that maybe if they were doing this a few years ago people probably wouldn’t have been sitting up and paying attention. But with the re-emergence of a strong Brit-folk school the luddites become the cool kids, by doing what they do best.

While their sound may lend itself to comparison to a whole host of their contemporaries Kurran doesn’t see his band as a flash in the pan. He’s never more sincere than when he says, “I look and bands like Radiohead who have amazing discographies and I want to be able to look back in twenty years and say, ‘Yeah, every single one of these albums speaks for a part of my life’ where as now, with the hype thing people just churn out songs like… it’s fucking ridiculous. We want to spend a little bit more time on the songs we’ve got, but there’s always that pressure that once the song’s there it’s done, but we want to put the care in now when it’s important. We just want to make sure we’re proud of everything we’ve done and if that takes a little longer then that’s just how it’ll be. It’s all about the music! As original as that sounds.”

“The way I think about it,” says Kurran, “There are a few special people who get the chance to do this as their career and that’s it, that’s our goal, I want to be one of those people. It’s not about fame, it’s just to be able to play music for your whole life. It’s like when I was fifteen and heard NOFX and Rancid and I thought, ‘Woah, those guys are playing and it doesn’t look that hard, friggin sweet, I could probably do that.’ So I did!” With secret influences like that, who’s going to stop him?

Kurran and the Wolfnotes will be on the road with Ex-Lovers during October/November for a co-headline tour;

November
Sun 1^st- Edinburgh, Electric Circus
Mon 2^nd- Glasgow, King Tuts
Wed 4^th- Nottingham, Bodega
Thurs 5^th- Birmingham, Hare &  Hounds
Fri 6^th- Cambridge, Portland Arms

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UK Music Jobs recently teamed up with Shoreditch Radio to do some live interviews with acts performing and attending the 1234 Festival in Shoreditch Park.

We nabbed chats with members of My Tiger My Timing and Rifle Volunteer who were enjoying the acts on display. We also managed to spend some time with Hatcham Social and Polly Scattergood as soon as they came off stage. Enjoy!

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I’ve long been a fan of Beverley Knight since I discovered her excellent 2nd album Prodgial Sista back in 1998. Since then she’s continued to churn out solid records varying from commercial pop (working with Guy Chambers on her 2004 record ”Affirmation”) to her last release the soul/motown influenced ”Music City Soul” in 2007.

After a two year hiatus Ms Knight, arguably the UK’s finest female vocalist, is back with the first single release from her 6th studio album ”’100%”’.  The track was co- written by Beverley with multi-million selling songwriter Amanda Ghost (Beyonce, Shakira, James Blunt), and produced by hot up-and-coming London based duo The Rural (Gym Class Heroes, Beyonce)

Its a classy, up market slice of pop with Knight’s trademark powerhouse vocals resonating deeply against the infectious hook and slick production values. It deserves to do very well and get the Wonder from Wolverhampton back at the front of the pack where she belongs. Accept no limitations as the Queen of British Music is showing everyone how its done.

Beverley will also be undertaking her first UK tour in 2 years in support of 100% in November, following an exclusive sold out gig at London’s ICA on September 3 to launch the album.

Tour dates are as follows:

Thursday 3rd September –ICA, London SOLD OUT
Tuesday 3rd November – Ipswich Regent
Wednesday 4th November – Cardiff St David’s Hall
Thursday 5th November – Bristol Colston Hall
Friday 6th November – Wolverhampton Civic Hall
Sunday 8th November – Glasgow ABC
Monday 9th November – Preston Guild Hall
Tuesday 10th November – Liverpool Philharmonic
Thursday 12th November – Brighton Dome
Friday 13th November – Southampton Guild Hall
Sunday 15th November – Folkestone Leas Cliff
Monday 16th November – Norwich UEA
Tuesday 17th November – Manchester Bridgewater Hall
Thursday 19th November – Southend Cliff Pavillion
Sunday 22nd November – Sheffield City Hall
Monday 23rd November – Birmingham Symphony Hall
Tuesday 24th November – Gateshead Sage
Wednesday 7th April 2010–London Royal Albert Hall

To book call 0871 2200 260 and www.gigsandtours.com

100% is released on Hurricane Records September 14, 2009.

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All week we had been nervously watching the weather reports hopin’ & a prayin’ that the sun would come out to play for Lovebox last Saturday.  Thankfully it did but then so did the rain just as Florence & The Machine took to the stage.  It didn’t dampen spirits though with the enthusiastic crowd lapping up the variety of acts performing throughout the day.

We arrived at Victoria Park around 1.30pm just as 12 year old Chipmunk (ok ok so he’’s apparently 19 but he looks 12 to us) was finishing his set.  To be fair he was giving it his all despite playing to a crowd of about 10 people.  It looked very much like the main acts would be the only ones capable of dragging people away from the Relentless dance area and fairground rides.

To be honest from our perspective it was very nice to be able to sit down and relax with a few beers around the main stage area without being trampled by a sea of crazy festival goers. This definitely seemed to be the vibe with Lovebox – relaxed, fun and not too crowded early on which was great when all you wanted to do is chill out with your pals.

Up next on the main stage was VV Brown.  We love VV here at UK Music Jobs and think she deserves more credit and respect than she gets.  She’s been pummeling the festival circuit, including a stunning Glastonbury show, giving well received performances but the big problem is that while people know who she is, they don’t know her songs.  VV is evidence that without Radio 1 airplay mass audiences just aren’t going to connect with you at this level. Despite that she’s a great performer and threw herself into the set with Crying Blood (both original and excellent reggae version), L.O.V.E & current single Shark In The Water going down fantastically well with the audience.

Mr Hudson was up next and was OK if slightly underwhelming for me.  I’ve heard lots about the man and while I think he has a excellent voice and bucket loads of charisma (plus his band are tight) the songs are just a bit bland and unexciting.  He did work it though and had the crowd going so its proof enough that his kind of mainstream, uber slick pop has mass appeal.

The retro tinged sound of Rumble Strips seemed to be a perfect choice for a late afternoon main stage appearance.  The crowed had consumed enough beer in the limited sunshine to lap up the shimmery, summery guitar sounds of this interesting indie/pop band.  I do wish the lead singer would look as if he actually wanted to be there though.  Always helps.

So then came a 22 year old singer/songwriter and former performing arts teacher to inject the first bit of blinding star quality of the day.  Florence & The Machine had drawn the biggest crowd with anticipation mounting for her to deliver a set to match all the hype.  She did and then some.  Running out on stage looking stunning and clutching a glass of white wine she jumped straight into a performance rich with drama, emotion, laughs, excitement and bloody brilliant tunes!  Cosmic Love is my favourite track of the entire album and I could quite happily listen to her sing it live everyday.  The emotion and throat tightening pathos she conveys is immense for one so young.   She finished off with her rousing cover of ‘You’ve Got The Love’ which had every hand in the air and so many smiles and wafts of good vibes that I sense it won’t be long before she’s the headline act.

I always thought Duran Duran were an odd choice for a headline act so I made my way over to the Gaymer’s Stage to catch Friendly Fires.  I’m not going to say much because if you were there then you already know just how brilliant their set was.  Quite simply the best live band I’ve seen in the last five years.  Their songs are immense, gorgeous nuggets of electro/indie/pop deliciousness.  Go and see them live whenever and wherever you can. They’ll make you happy. I promise.

So that was our Saturday at Lovebox.  For a mere £46 this has to be the best, friendliest, most organised music related day out of the year.  We recommend you get yourselves along next year.

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Its been all over the news for the past few weeks and now members from UK Music Jobs are getting involved in the One & Other fourth plinth project in London.

Conceptualised by sculptor Antony Gormley, people from all over the UK have been invited to occupy the empty fourth plinth in Trafalgar Square, a space normally reserved for statues of Kings & Generals.  The person will become an image of themselves and a representation of the whole of humanity.

Every hour, 24 hours a day, for 100 days without a break, a different person will make the plinth all about them.  Individuals are allowed to use their alloted time as you see fit.

Lawrence Reed and his collaborative partner have composed a piece of music entitled ‘The Ebb of Acrophobia’.  Acrophobia is derived from the Greek ‘akron’ (peak) and ‘phobos’ (fear) is a fear of heights and is extremely common. Lawrence suffers with the condition so this composition is an attempt to reflect the state of mind and physical condition of the living sculpture on the plinth and, through score, signals and improvisation interpret his changing state where the outcome is largely unknown.

Lawrence has been advertising his project on UK Music Jobs and as a result a number of our musicians are heading down to take part.  Anyone is welcome to join in with the idea being that you can play without qualm or hesitation and have fun.  The pieces are instructional but in terms of guidance accuracy is not prerequisite.  All the musicians performing are reflecting the mood of the acrophobic on the plinth however the conductor will brief the orchestra 15 minutes before midday and before each new part of the composition.

For full details check out Lawrence’s website here - http://lawrencereed.com/

If you can’t make the actual event then remember you can watch the whole performance online on the One & Other website;

http://www.oneandother.co.uk/

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LIVE GIG REVIEW

ARTIST – Florence + The Machine

VENUE –  Rough Trade, Brick Lane

Well by now pretty much every music fan in the country will have heard  about 22 year old London singer/songwriter Florence + The Machine.  Hyped to the max over a year ago (something our UK music press just love to do) she has been proclaimed and acclaimed without any real chart success even winning an absurd critics choice Brit Award with only one single.  None of her tracks released so far have seriously dented the top 20. Latest single Rabbit Heart (Raise It Up) has been buoying around the top ten without finding its feet so is she simply Little Boots part deux?

No, thankfully not. Florence has most definitely some big musical chops.  Her performance at Glastonbury (while not as astonishing as some would have you believe) demonstrated her star presence and a bizarre but beguiling combination of Amazonian fierceness with little girl charm.  More importantly the music is very good indeed but not quite great.  Comparisons have been plentiful with Kate Bush but honestly I doubt there is a track on her debut album (very good also) that people will still be singing in 20 years.  This doesn’t mean that Flo has failed, far from it.  What she has done as stuck to her guns, created an image and sound that is distinctive and credible while getting on with winning over both press & public alike.

In many ways she reminds me of a female Patrick Wolf.  Both have a strong Celtic & bohemian vibe to their music.  He is far more anti-establishment perhaps indicative of how female singers flourish more under record label management than male in the industry.  What they both possess however is a sense of individuality and the ability to genuinely connect with their audience through sweeping, emotive, epic tunes.

Last nights performance at Rough Trade was a nice little showcase of a few of the lesser heard tracks from newly released debut album ‘Lungs’.  Amusingly Florence nipped out to use the toilet after her sound-check and passed us all in the queue.  No one really noticed it was her despite the trademark flaming red locks and black hot-pants and then she nearly tripped going into the bar next door.  As amusing as this might be she mentioned it as soon as she got on stage and it simply added to her charming persona.  She doesn’t take herself too seriously and when she smiles and giggles you can’t help but fall under her spell. Then she starts to sing.

There is no question that her style and voice is marmite but no one can fault her technically. Her vocal range and enchanting delivery of the story is the stuff of which powerhouses are made. The material focuses heavily on the emotional high’s & low’s of relationships and as Florence stated  ’this one is about those times were you just go completely crazy when you break-up with someone. Just me then? OK….’. You get the impression that these lyrics are absolutely her personal view and she’s hoping you’ll get it but if not enjoy it anyway.

‘Between Two Lungs’ was the 1st track and it kicked off things nicely  with her powerful voice ripping through the crowd.  Up next was the anemic White Stripes esq. anthem ‘Kiss With A Fist’ which isn’t about her own experience of domestic violence she cheerily informed us but rather about an aggressive, passionate couple she used to see around Camberwell.  Hard to tell whether she was telling the truth or simply teasing the press but regardless it got everyone singing and clapping along.  ’My Boy Build’s Coffins’ is a gothic fairytale both quirky and twisted with a bittersweet sting in its tail… ‘one of these day’s he’ll make one for you’. Great stuff.  You can imagine  her writing songs for a Tim Burton movie one day.

Hurricane Drunk and Drumming Song were good if not particularly memorable while the highlight the wonderful ‘Cosmic Love’ shows why she has all the potential for greatness.  With its Arcade Fire style drums and impressively assured vocals, this is perhaps the most challenging yet rewarding song on the album.  It lifts you to a point where your threatened with a massive chorus but instead it leaves you teetering on the edge without sacrificing any of the power or potency. Genuinely thrilling.

Dog Days Are Over and current single Rabbit Heart (Raise It Up) were perfect choices to end the set with and she delivered both with ebullient energy and precision leaving the crowed wanting more.  True sign that a star has been born, coifed, media trained to the hilt and thrown out there for our consumption.  I think she’ll do just fine.

**** (4 out of 5)

Matt Williams

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