Here is a little fun fact, I once reviewed music and literally compared it to the sound of nails being dragged on a chalkboard. I was advised by my editor at the time, that I CANNOT say that and perhaps it may be better to offer constructive feedback as opposed to going for the jugular immediately. That is the reason why I will only review music I enjoy; these tracks become enmeshed in my intimate soundtrack, which is constantly being added to on my numerous playlists on both Spotify & iTunes. (You gotta have backups of favourite tunes!) 

There is something about this week that really made me miss Tony Moore’s Musical Emporium; 4 of the selected tracks are connected to my 3 years on TMME. A kind of written almost Six degrees of celebration, with variations in genres which differ from track to track yet offer overwhelming emotion that ensues when I listen to them.  

MOLLY HOCKING, ALIVE

I fell in love Molly’s voice the minute my ears heard the first beat. The melody completely hooked my core, there are small nuances hidden within Alive. The main track holds a steady pace, with entrances and exits of various nuanced auditory highlights. I relish when artists layer mixtures of sounds throughout. As Alive plays, there is a sonorous peace with cautionary lyrics. When Singer/Songwriter’s employ the technique of powerful lyrics sung prettily, I think it adds more strength to the dispatched words that occupy the entire parchment of lyrics. I have listened to every single version of Alive, all the remixes that I could get my obsessed ears on; including a live stream of Molly when she performed at The Bedford last year. I completely cried not only because I relish Alive; it was born through Molly’s darkness yet riddled with hope. One of my favourite aspects to Alive, is that the lyrics don’t hide their head in the sand or ghost; very open and without apology. Fearless, to the nature of how there could be potential situations that completely drain every ounce of mirth we as human could potentially capture and grow from; regardless of how much pain we’ve been forced to endure. In addition, the imagery of dark and light, the shock of how pain may ensue from various circumstances to create an air ID dissociation amidst trust and true compression of visible warnings ignored. Molly nailed it right on the head “when the silence is too loud” the presence of silence void of sound. Basically, a detour into the nothingness steeped in truly powerful emotive and colour scenes-scapes.

KULICK, GHOST

My first impression of Ghost by Kulick, I immediately gravitated to the thought of music and lyrics afforded a very crisp call and answer. A blend of stitched layers, I found the music to be eerie in the best possible way. A demeanour that genuinely honours the title of this track. Embellished layered of vocal tracks offers and air of sharp hauntings. Kulick utilises innovative layers of sound at times not from instruments, upon completion of the track the mix render is bloody brilliant. I’ve been engrossed in thought, in attempt to best describe the music. There are specific tracks that offer power at the beginning of each bar in parts; in fashion similar to a vein which pulsates to a steady tempo and emphasized crescendo. The timbre of Kulick’s voice pairs with such a respect of synchronicity, to the music. This song reminds me of a pair of dance partners; however, one partner is the lyrics which haunt, pierce, evoke a sense of permanency in a world that resigns to one use items. The lyrics commit to the backbone of the other partner from the musicality of Ghost. The concept of literature and the importance of words is one that I hold to incredibly dear; that being said “Words live on a long after time”. I mean think about it, and the echo behind the presence of the main vox reconciles beautifully a, simultaneous frenetic and mellow tempo paced with extreme precision. Music is supposed to set a theme, this one is perfect for evoking all of phrases from one’s personal story and encapsulates the importance of expression and adds to the list of things that will outlast humanity. Words, phrases uttered vanish into the air, their presence is still there in a similar fashion of a Ghost.

THE RAVEN AGE, FORGIVE & FORGET

My first auditory experience with The Raven Age who is comprised of Matt James, vocals; George Harris, guitar; Tommy Gentry, guitar; Matt Cox, bass and Jai Patel, drums was from an airplay on Tony Moore’s Music Emporium of Fireflies. Forgive & Forget, track #6 on Blood Omen, is marinated pure frenetic energy that takes me to a time when I would listen to similar music to calm down as a youth. Bloody hell, the random emphasized guitar solos with the consistent pound of the drum I find to be quite soothing. I am always delighted at sound that works in unison with each other whether the nuance is a blend of vox, drums, bass, and a guitar. The symbiosis in sound affords a clarity as though there is an inner dialogue between the members of the band in creation of a living breathing entity of music. The drumrolls would put any escalated heartbeat to shame. The consistent backbone is the ability for Forgive & Forget to transition between highlighted instruments, it’s so fluid and doesn’t skip a single beat; it’s a maintained intensity that does not resign one moment throughout the track. I must admit I genuinely appreciate the timbre behind the vocals; complementary to the music. There is something about the lyrics that I found to be haunted by — the correlation between words and actions in these lyrics; “I don’t need words to make it through Lack of action washes you away”. Which is something I actually postulated this last academic year in Philosophy class. What is important, words or action, the words are in my option supposed to support the action. Absent the symbiosis between the two they might as well “wash away”. I find the lyrics to be immensely powerfully sung, with a true of verity in mind.

EMMA SNOWDON & THE TRANSLATOR,

YOUR EYES

Your Eyes, a collaboration between Emma Snowdon & The Translator, is what I imagine to be sung by a siren in the middle of the ocean who steers a sense of self love inflicted to conquer the ID. Ridiculously melodic high notes which completely yearn to be able to escape the pain of a prison of words encased in human optics. A song which speaks of resilience and endurance. Can we just take a minute to really appreciate the psychotically high notes. Beyond sonorous with an anthem of embedded self compassion. The vibe is mellow, induces a bond that once existed in trust where individuals decided to engage in things differently, yet pain ensured. There is a Yin Yang push pull harmony between the lyrics and the musicality. The presence of a consistent beat holds through with the aid of various instrumentation throughout Your Eyes. Remarkable how music is one of the biggest outlets to expression where high mellow notes can be met with a voice that desires for pain to be tucked away from the pain. Your Eyes is a 4:07 minute track, the manner in which the chorus is echoed; a knife with the desire to slice through the music and create a little dream scape diorama to contemplate the definition of what self love really means versus the contention of one who is manipulative and uncaring. If you’ve ever used a hula hoop, you’re aware there is a main point of motion for the circle to complete, there is a repetitive melody that paired with the lyrics; especially “I’m closing the door on your thoughts.” It’s absolutely gut wrenching, the ache in the lyrics and timbre make no apologies; in the most beautiful way.

IZZY T, CATCH MYSELF

Catch Myself by Izzy T is such a kick ass testament to the epitome of the truest from of knowing your how much one is worth and acknowledging they do not deserve to be mistreated. The start of Catch Myself, reminds me of an image I use sparingly, a ballerina slipper completely adorned with spikes; as I was saying the opening of Catch Myself is framed with a strong yet delicate tone. It is truly beautiful, the last lyric before a heavy in the best possible way drum track emerges the moment “I learn to catch myself again” is sung. The presence of the drum beat the moment that lyric is sung is just pure force before it is joined with other instruments. I must admit, transitions inside of music are my favourite to observe as many nuances as possible especially if it never clutters the track, and this piece is so crisp and clean not a single note is wasted and layered with purpose. I find myself tapping my foot in unison with the drum and completely surrender to the tenderness of life. With each lyric Izzy sings, I hear the presence of a distance high beat that offers such a controlled tempo amidst poignant lyrics. The moment I heard Catch Myself I knew that I was going to review it, it is every single thing that we as human beings need, when someone who has hurt us requires to be blocked — to avoid more pain. There is such an undervalued sense of women and our emotions, it is remarkable the moment when an epiphany occurs, and that veil is lifted into the light.