Originally from Blue Mountains, near Sydney, Cloud Control – made up by Alister Wright, Heidi Lenffer, Ulrich Lenffer and Jeremy Kelshaw – are now residing in the UK. They are currently working on ‘Dream Cave’, their second full length album after ‘Bliss’, which received the Australian Music Prize in 2011.
They are now working with producer and mix engineer Barny Barnicott, whose collaborations include several names of indie rock bands such as Arctic Monkeys, Plan B, Peace and Franz Ferdinand. Their latest single ‘Dojo Rising’ adds to their typical psychedelic touch and harmonies from the West Coast rock/electronics effects. The mix of a pop beat and a feeling of nostalgia will make you feel like one of those days when the sun is out but rain falls down on you and you can't help wondering how a person can feel happy and sad at the same time.
The band will be touring from August in UK and Europe before their Australian tour.
September dates
Mon 23 LONDON Xoyo
Tue 24 MANCHESTER Deaf Institute
Wed 25 GLASGOW King Tuts
Thu 26 BIRMINGHAM Hare & Hounds
Fri 27 BRISTOL Start The Bus
Singer songwriter Adele Emmas and guitarist Sian Williams met in late 2000 and, over their mutual love for artists such as Leonard Cohen, Kate Bush and The Cocteau Twins a decision was made to found the band Bird. The quartet is completed with drummer Alexis Samta and Mike Bennet at the keyboards.
The band signed with Jack to Phono Records and launched their first EP ‘Shadows’ in 2012. Their second, ‘Ophelia’, was released in February and they're working on their first full length album.
Bird have gained a strong and solid fan-base as well as praise from eminent voices of the music industry. Winning ingredients of their project are Adele's hypnotic voice, dreamlike lyrics and melodies that will capture your heart with their fusion of tribal, folk and classic beat.
Their songs manage to create an atmosphere like a Grimm's tale. You think you're reading an innocent and innocuous bedtime story but a moment later you're shifted in a thick and dark wood. You excitedly feel lost and attracted by the danger hidden in the dark.
"CoCo And The Butterfields will amaze you with their innovative "Fip Fok"
More often than not music genres cross path and when it happens new genres come to life. Yesterday I was at one of these junctions when, for the first time, I assisted at the CoCo And The Butterfields performance, live at The Finsbury Pub.
The band - made up by five elements but joined on stage by a trombone and a trumpets specially for the occasion – manage to converge several sounds and influences. They all brought their personal experiences (which span country, folk, hip hop, r&b) and gave life to a distinctive sound.
The band opened with a cover of Whitney Houston's 'I will always love you' sung by Dulcima's low and seductive voice; she was gradually joined by the rest of the instruments and when the song got to its zenith, it broke into a fast-pace folk ballad that had the unfortunate side effect of suffocating the female and male vocals.
'Astronaut' was a gentle and delicate love song that kicked in the second half, spiced up with a hint of jazz. 'Scarecrow' came next; the song opened with a raspy violin before bursting into a fast country ballad. The band also presented their latest single 'Warriors' a choral song that resounded epic with trombone and trumpets joining the performance, before closing with a cover of Florida's 'Low' revisited in a reggae key.
On the stage, the band was possessed by the rhythm of the music, dancing and thumping against the floor - the excited crowd couldn't help but clap along.
There is a rough quality about the sound of CoCo And The Butterfields; it's not easy to merge so many different styles, but this band seems to know how to make it work. There are few edges to refine and adjust, but it'll be interesting to watch more closely the evolution of this unique project.
"Johnny Parry nails the perfect symphony, a must see band of 2013"
When Johnny Parry Chamber Orchestra got up on the stage of The Finsbury, they were crammed on a relatively small space. It was eight of them possessing keyboards, violins and double bass to name a few. As Johnny Parry said; it was only the stripped version of the Orchestra that usually counts 30 elements.
The band opened with 'Sweet Nothings' from their second album Song without a purpose; Parry's clear and warm voice led off, accompanied by the astounding voice of the soprano. From there they were slowly joined by all the instruments on hand, being introduced one at a time. When they retracted, the song ended up with a light touch on the keyboard.
'God loves me' hit the crowd like a punch, unlike the other songs that started slow and then built up, this one started at full voice. There was a nice contrast between Parry's deep voice, and the soprano warbling in the back.
Throughout the whole performance there was a strict link between the song played and the images being projected on the screen behind the band. When the orchestra played 'Rebuild It Piece By Piece', images taken from comic books worked as captions relevant to the song and, inside the balloons, it was possible to read the lyrics. Parry's mesmerizing voice was the main character of the performance, with the instruments building around him and originating a sense of grandeur.
Johnny Parry Chamber Orchestra closed with another tune from Song without a purpose; 'Love Song'. As the title suggested it was indeed a song about love but not in a traditional way. The grandeur of the music left place to lyrics that were an ode to life and love. Love for the countryside, for home, for personal ghosts, demons, love for God. In the end the song reached its zenith and I couldn't help feeling I was watching live - for the first time - the execution of a symphony.
The Local Natives first record - 'Gorilla Manor' - was such a strong debut, it concerned me how the band would set about making a follow-up. I kept thinking to myself; how on earth can you beat this record! Truth be told, with my first listen to new album 'Hummingbird', I wasn't sure what to think. Although, as the sound waves started to penetrate, it didn't take long before Local Natives started to work their magic on me. Their brave statement with their new sound shone through as expected.
You can catch Local Natives at tons of UK festivals this year along with a host of headline shows. After seeing them as Field Day's secret guests, I cannot recommend buying a ticket as fast as possible or making sure you are in the best position possible if you're at one of the lucky festivals.
June
Fri 28 - Glastonbury - Festival
July
15 - Nottingham - Rescue Rooms
16 - Brighton - Concorde 2
20 - Longitude - Festival
21 - Latitude - Festival
August
17 - Beacons - Festival
18 - Green Man - Festival
October
15 - Cambridge - Junction
16 - Norwich - Waterfront
17 - London - Brixton Academy
20 - Newcastle - Sage 2
21 - Glasgow - Arches
22 - Belfast - Limelight
24 - Dublin - Olympia
25 - Sheffield - Leadmill
26 - Manchester - Ritz
27 - Bristol - Academy
29 - Southampton - University
Check out Local Natives outstanding new video 'You & I'
Sporting a pork-pie hat and precision moustache, Brothers Rasputin’s hyperactive frontman left his memorably psychotic mark on the Finsbury’s front-of-house last Thursday
Clearly one of the best voices I've heard this year!
'This Human Joy' is a hopeful song about finding peace in the beauty of small and simple things, when often it's easy to slip into feeling frustrated or irritated by the world, routine and to stop taking chances and risks. It's about accepting the fact that we can't always know where we're going or what will happen to us and embracing those mysteries.
What the press say
"Setting a new benchmark for sensitive pop in 2013" THE LINE OF BEST FIT
“Soporific, pianistic folk…displaying a charmingly earnest approach.” THE FLY
“Touches of Bon Iver and Jeff Buckley ring true, however Ajimal sculpts an illimitable soundscape that is entirely his own.” CRACK IN THE ROAD
“An unearthly, eerie and incredibly beautiful set of sounds that will capture the imagination of a much wider listening public before long.” DROWNED IN SOUND
Although London based the band's international membership hails from England, Ireland and Chile. Their initial demos were recorded simultaneously on both sides of the Atlantic in a 24 hour cycle between London and California.
The band kicked off the New Year in California, USA with shows across the west coast and to complete the recording of their first full length album "Life among Wolves" (set for release Summer 2013), followed by headline shows and various tours and festival appearances across the US, UK and Ireland.
Here's what the press have to say
"Go Tell The Eskimo creates totally magical indie pop that will make your ears rejoice" Tobi Lynn 98.7 Los Angeles
Armed with articulate analogue sounds and upbeat indie anthems, GTTE comfortably blend exciting rock & roll elements with a pop-centric demeanour that can only be described as Go Tell The Eskimo! This can be heard throughout their EP and in the début single “When The Lights Go Out” (officially released November 20th 2012). Along with the local support from the BBC and national Radio the band is catching the attention of audiences across their native UK thanks to their unique brand of eccentric indie rock.
"Smoke Signals" the EP, recorded and produced between Los Angeles and London, was released through Red Parade Music owned by producer Jim Roach (The Young Romans, Skyler Stonestreet, Jesse Thomas).
"The entire three song EP called "Smoke Signals" is beautifully layered - from gritty garage rock to jangly 60's inspired orchestral pop - these songs will become the soundtrack to your happiest daydreams!" Tob Lynn on-air personality and live performance host at 98.7FM-LA
Here is your second chance to listen back to our Lost in the Manor Review Podcast for May. Recorded at The Finsbury and previously aired on Shoreditch radio May 26th. Our June Podcast will be aired on Sunday June 30th
The 150 Friends Club is the latest project from David Goo - his 'second feature' so to speak - and could be described as the Variety Band's uglier and more peculiar sister. Based on the Dunbar Theory that society works best in numbers of 150, the band plays what they call 'intimate, intense rock things' designed for no more and no less than a hundred and fifty people at a time.
Their first recording is their answer to the sixties song 'I Know Something About Love' and was recorded at Intimate Studios, live in the same room, second take, with overdubs. Mixed by Oliver Price at his home and mastered by Tim Debney at Fluid Mastering.
Mariya Brachkova - vocals
Charlie Coulson Smith - Bass
Oliver Dacombe - Drums
David Goo - Vocals/guitars
Check out their current single I Know Nothing (About Love)
Writing a review is more complicated than it looks like; it’s basically translating music and feeling into words. A writer will find bands along the way that will make the task easier or more difficult. But personally I think the best bands are those that leave me speechless, and trust me it’s not an easy job. This happened last Sunday at The Finsbury Pub when Buzzard Lope got on the stage.
The curiously titled 'Jerome' tells of a father's warning to his son to abandon the now dilapidated and deserted ghost town they call home for bigger and better things. A powerful flute and string ensemble provide the 'Bonanza-esque' instrumentation for this epic sonic-voyage westbound.
After such great radio support, the band have this year been booked to play the coveted Glastonbury Festival in June
Gigs
Sat 28th September 2013- Cornucopia Festival
Sat 17 August 2013 - Green Man Festival
Sat10 August, 2013 - Croissant Neuf Summer Party
Thurs 25 July Secret Show Cardiff
Weds 24 July St Pancras Old Church London
Sat 20 July 2013- Deer Shed Festival
Sun 30th June, 2013 - Glastonbury-Croissant Neuf Stage
Sat 22 June 2013 GoldCoast Oceanfest
Following the release of their critically acclaimed debut single ‘Blue Velvet’ last November, London four-piece Childhood will release their new double a-side single ‘Solemn Skies’ / ‘Semester’ digitally and on 10-inch vinyl on 10th June 2013 on House Anxiety/Marathon Artists. The two tracks were produced by Rory Attwell, formerly of Test Icicles.
It’s taken some time for Landshapes to find their feet in the music they make.
As their previous incarnation Lulu and the Lampshades, they’re probably best known for the viral cup song You’re Gonna Miss Me - over 3 million hits on youtube and counting - but in the ensuing period they’ve undergone a considerable musical metamorphosis.
They have learnt and grown together, four distinctive personalities jostling and pulling, each with their own set of influences and sensibilities - an unlikely alchemy which comes together and makes sense. Broad brushstrokes, big sounds and mournful melodies forged a new soundscape, so that when a typo accidentally billed them as ‘Landshapes’ it seemed an appropriate description for an altogether new sound, and an altogether new band.
Landshapes is the sound of four people in a dingy practice room, building on accidents, listening over and reworking obsessively until every band member is satisfied. An unconventional and serendipitous a process it might be, but it’s crucial to Landshapes overall sound.
Their debut album Rambutan - the name chosen “not so much after the fruit but for the sound the word makes” and produced by Ash Workman is a distillation of songs old and new, re-worked and fine tuned with a deft precision.
In Limbo with it’s stunning video clip proves a triumphant opening salvo. “It’s always felt like a fighting song both musically and lyrically” says Luisa Gerstein. With images of Bolivia’s Cholita female wrestlers proving a major stimulus whilst recording, Luisa sought them out, travelling to La Paz and teaming up with director Ian ?. The resulting film is a dignified response to a “Latin American society where being both indigenous and a woman is a double sub-class” - a celebration of these extraordinary women both in and out of the wrestling ring.
Their unorthodox approach to songwriting is writ large across the ten tracks. Impasse “the oldest song on the record was a tinkery ukulele thing” that became something “bigger and better with the band”; Threads “a lot of ideas that came together in the practice room, has the feel of different parts interjecting like a conversation” and Racehorses “a truculent song” that was to become one of their favourites after Heloise and Jemma developed a new bass and guitar part. Demons acts as a marker of their evolution - “recorded as Lulu And The Lampshades, it felt closer to the sound we were developing and tracks that change in the way it sounds and how we worked together as a band.”
Forthcoming single Insomniacs Club “is cursed” according to the band. “Anyone who gets involved with it gets insomnia. The guy making the video hasn’t slept for days, true story.”
Landshapes take on another dimension in a live setting. With drummer Dan the only constant, multi instrumentalists Luisa, Heloise and Jemma shift seamlessly from one song to the next swapping instruments and vocals with a fluid dexterity.
Lost in the Manor Presents
Such is the refreshingly diverse nature of the Finsbury clientele, that the crowd on the final Friday of May included a fully kitted-out softball team, fresh from an evening swinging the bat in nearby Finsbury Park. Not that such overt Americana had any noticeable impact on The Black Ink, whose white-shirt-black-tie Brit-beat shtick disguised a psychedelic rock band of greater depth. Three of the five members strummed six-strings but never overwhelmed, adopting a share-and-share-alike approach to their playing that was complementary rather than intrusive; flourishes such as the sparkling slide riff on ‘Tangerine’ gave the song its singular hook. Tight and accomplished, The Black Ink were at their best when belting out pop-flecked uptempo stompers, energised by a vibrant rhythm section. Oh, and it has to be said, the anchorman, sorry, the lead singer, was a dead ringer for Will Ferrell. No jazz flute tonight, though, sadly.
Headliners The Bedlamytes may have been more rudimentary musically, but they boasted an immediate focal point in singer Jasmine, whose keyboard swells and runs elevated sometimes functional tunes to a more intriguing level. Her strong vocal resemblance to Siouxsie Sioux completed the quartet’s alternative-eighties vibe, one where the occasional driving riff and catchy dynamic crescendo stood out rather than any infectious track as a whole.
Still, another night at The Finsbury, another set of ascending London bands for no cover charge. All in all, another Home Run, as they may have been shouting on the sports pitches nearby.
Originally from Blue Mountains, near Sydney, Cloud Control – made up by Alister Wright, Heidi Lenffer, Ulrich Lenffer and Jeremy Kelshaw – are now residing in the UK. They are currently working on ‘Dream Cave’, their second full length album after ‘Bliss’, which received the Australian Music Prize in 2011. 
