Tag Archives: New Music

THE LIVING EYES- Living Large.

Posted on by

 

 

I’ve had my copy of Living Large for a while, but sometimes I’m stupidly lazy. Then it all comes in spurts.

Living Eyes are a brilliant Garage Rock kind of band. They are pleasantly loud and foolishly underrated. They’ve got hints of Ty Segall and Wavves flowing through their music, but their record Living Large sort of feels like something by The Vagrants mixed with the Beach Boys. Kick a can hopelessly on the beach until everything becomes clear. That’s what you get from this record.

Boredom. It hits us all. Saying we’re bored because we’re not bored, we just don’t know. It’s a state of mind and it’s an unflattering way of life. But the thing is, The Living Eyes make this sloppy way of living feel alright. They make you want to waste your days away doing nothing. If this is the soundtrack to it, then please sign me up now. The Living Eyes are one of the most exciting bands to come from Australia in a while, but don’t let that make you think that they don’t have a decent music scene there, because they do. There’s a lot of great bands there who will hopefully soon get the exposure that they deserve.

Living Large is not just a Garage Rock record. They’re not just a Garage Rock band. There is something else there, something that’s dying to come out and of course it will. Living Large lures you in, and once it has its grip on you, you won’t want these 4 guys to let you go. They’ll put you in a sweaty choke-hold and you’ll want more. Living Large may end up being quiet, but come the summer months it will get played constantly. It’s exactly what it was made for. Living Large wasn’t made for the pissing rain. It was made for the blistering heat and the desire for shade to protect you from the rays.

Some bands you fall in love with instantly when you hear them, and if you’ve never listened to The Living Eyes before, this record will make you sway, swoon and fall in love. If you’ve felt hopeless, bored and lifeless then this is the record for you. It was designed to make you feel a little better. Buy it, stick it on, learn the words, wear it out and make The Living Eyes your favourite band.

Living Large is gloriously frantic, chaotic drumming, beastly guitar riffs and all in between. This is what you need if you’re in need of a kick up the arse or a punch to the eyes. The Living Eyes are unapologetically loud and brutal. Their song, Bad Example justifies fully why this band demand your attention and you know you better give them it.

I’ve never seen them live, but I’m fairly sure it’ll be a lively sweat-fest and massively brutal. Just how it should be. They say perfection doesn’t really exist, but they’ve never listened to these guys have they.

I’ve kept this brief as my piece on them a few months ago explains why I love them, and I won’t shut up otherwise. Just go buy the record. It’s out now, go to your local record store and treat yourself.

AUTUMNS -Blonde (EP)

Posted on by

 

 

The best musicians are the ones that are fearless. The ones that play a little louder than most, the ones who play until a part of them bleeds, the ones that MAKE you believe in what they are saying. The ones that feel like an old pair of boots that you placed aside when you were forced into buying new ones. The best ones make you feel uncomfortable too, like a new pair of boots.

Autumns are a mighty fine Derry band. If you’ve listened to them prior to the Blonde EP you’ll have been familiar with Christian’s distorted sound. A sound that me love his music instantly. It felt like you were creeping into a secluded world. You daren’t tell anyone anything. Keeping up with this sacred feel, the Blonde EP is clearer and bloody hell he’s got a strong voice. Think along the lines of Orange Juice meets Dead Boys meets something completely else that none of us have heard before.

These four tracks smack you so wonderfully between the eyes, they shake you and wake you up. Every song shows the potential that Christian has, and I am so so proud of what he has done with Autumns. I’ve said this every time I write about him, but he does remind me of Alex Zhang Hungtai (Dirty Beaches/Last Lizard.) One person making a load of noise that just HAS to be heard because it is phenomenal.

I Can See Them Looking At Me feels like it should be featured in some sadistic black and white film. It’s brilliantly creepy and sinister, everything you should want from music. Bands like Autumns are exactly why I want to write about music. I don’t care for doing anything else. They heighten something inside, and things like that do not happen often. Today in London it is damp, dreary and dull; the perfect soundtrack for this is the Autumns EP. Escape somewhere else or stay where you are. Play it so loud the neighbours ask you for a copy. Through your body around to the jangly guitars and furious drums. It’ll start making sense.

Blonde leaves you wanting more from Autumns. Not in a sense of wanting more and more songs, but in a way of just wanting to hear what’s going to happen next. Knowing how the sound has changed and more clarity with Christian’s vocals (which is a very good thing) you can’t help but know that this band are definitely something special. I did one of Christian’s first interviews last year/the year before, and it was so obvious that he’s not making music that should be ignored. He’s making music that feels like a punch to the gut and a jolt to the body. An electric shock making its way through you and when it gets to the crucial point, that is when you know.

You can stream and buy the Blonde EP here: https://cf-records.bandcamp.com/

Also if you’re in Derry/nearby then go this show on the 27th February; https://www.facebook.com/events/517218015083138/?ref=3&ref_newsfeed_story_type=regular

BY STARLIGHT

Posted on by

 

63991_888247444520888_8468888905278233922_n

 

Bands usually go through changes. Sometimes for the best, sometimes it doesn’t make any difference. Then there are some that go through hell and have to have a new lineup. There is something about experiencing emotional pain and suffering that can make a person tougher. There is something about it that can be a kick up the arse. Suffering or not, we all need that at times.

By Starlight are a London based trio who make the kind of music that would probably silence Courtney Love. When you listen to bassist/vocalist Sara you hear all the powerful singers that came before her in her voice. There’s a hint of PJ, Shirley Manson, Patti and Courtney in her voice and it is bloody excellent.

Sara started the band a few years ago after she left Australia. Australia isn’t known for its music scene I suppose (Silverchair will always be one of my favourite bands and Natalie Imbruglia once had a nice hairstyle didn’t she.) As someone who was once shy and hadn’t really sung before, it is fair to say that she has found her voice. A voice so strong and so passionate; enough to make you want to start a band too. These are the kind of bands and singers we need.

By Starlight have a raw, gnarly 90s sound. So Desperate could easily pass as a song off Garbage’s debut record. It is brutal and heavy, it is everything I want from a song and a band. They have a real moody sound flowing beautifully in and out of their songs. Listen to So Desperate just once, and it will stay with you. No And Forever sounds like it would sit wonderfully on Hole’s Celebrity Skin record. I know it may sound like lame comparisons, but honestly they just sound like one of the great Rock bands, you know? You can’t ignore that

There’s determination in this band, and of course it is something to admire. Last year, drummer (and best friend of Sara) Pete was sadly killed in a car accident. I wish I had written about them prior because his drumming was brilliant. Some drummers just have you hooked instantly, and he was definitely one of them. I’m just glad Sara didn’t call it quits because By Starlight aren’t a band anyone should ignore.

After only meeting Dan (guitar) and Thierry (drums) a few months ago, it is pretty obvious that this band aren’t one that should be stopped. What started with the desire to move to London has now become something truly wonderful, even in the light of something beyond awful. By Starlight have a real Rock sound to them. Their sound is heavy in all the right places and is mixed with moody and seductive vocals.

I’ve happily been playing their 3 tracks on their soundcloud page for the past hour or so. So Desperate is a proper little earworm that will stay with you. You can listen to their tracks right here:

Their next show is on 27th February at The Dublin Castle (in Camden.) I’ve not seen them live, but I’m pretty sure it will be gloriously loud and rowdy.

If mean (they’re sweethearts really, but you know what I’m getting at) and moody melodies are what you desire, then turn yourself onto By Starlight. An absolute pleasure to listen to and I’m pretty damn proud to call myself a fan. Besides, any band that name themselves after a Smashing Pumpkins song is alright with me! This won’t be the last I write about By Starlight.

GROSS NET.

Posted on by

10568781_840539652624789_5614437105709027520_n

 

 

When two bands you are a fan of or when two musicians you like make music together, it’s always a good thing (I’m sure there are shit ones, but it’s important to be nice.) You can hear both sides. You can hear each band’s influences and you can pin point signature sounds in some of them.

There’s a chap from Derry called Christian. He has a band called Autumns. I’ve written about him loads because he’s bloody good. He’s better than good. He’s an Irish version of Dirty Beaches. One guy making a load of noise in the best way possible. He’s made a 3 track cassette with Phil from equally brilliant Girls Names. If you’re a fan of both bands, you’ll love this. Or if you ever wondered what would happen if Kraftwerk stayed awake for 24 hours straight and dropped acid, this is what they would sound like.

Gross Net are an ideal “super band.” This is from a selfish point of view, obviously, because I like them. The three track tape isn’t enough, but for now it’s all we have. That’s why the repeat/back button was invented. For bands like this who simply make you want to play their music on a loop.

The EP was recorded in a dark and damp space in just a day. The EP touches on subjects such as  idiots in the arts who think they are better than everyone else (shut up you elitist twit) to surviving the recession. Listen super carefully and you’ll pick up on it. Wrong Place Wrong Time is a euphoric gem with less tension than the others, but the EP is just simply wonderful anyway.

At the moment they’re making noise and causing riots (possibly a lie) all over Northern Ireland and Dublin. If anyone can bring these guys to the UK, then please do.

Their self-titled EP will be released via  Art For Blind as a limited edition tape and you can listen to it here:

This EP crept out late last year and should not be ignored. The tracks just capture how they are live (check out the YouTube clips of their separate bands and of Gross Net.) Loud, brutally dark and unlike anything else. If you think Ireland doesn’t have a solid music scene, then you thought wrong.

BAD GRAMMAR- Clown.

Posted on by

bg

 

“Sweetheart, your make up is terrible”.

 

When I was at Uni, I went to pretty much every Gossip gig I could manage on a student budget. Turns out, it was a lot. Thankfully it wasn’t a phase and is something I still do. Last year I think Bad Grammar could have possibly been the band I saw the most, closely followed by Crocodiles. This year, who knows who it could be. Probably more of the same to be honest, that’s perfectly alright with me.

If your daily life is a pain in your behind and other areas, if you are bored with the repetitive strain of daily life then Bad Grammar are your saviors. This Manchester based duo are the most ferocious and probably loudest band I’ve seen in a long time. The Jesus And Mary Chain were loud when I saw them, but it was mainly feedback wasn’t it. Bad Grammar play like two feral kids being let loose in a school music room and they don’t really care for who hears them. Their new single, Clown pretty much showcases this in all its brutal glory.

If you’ve seen Lucy and Ben live, you’ll probably be left feeling as if you should start a band or something as brave. I’ll be honest, when I’ve seen them live I’ve pretty much stared in awe at them rather than pay attention to the songs. Every time I see them, I feel it is the best time I’ve seen them. There is something about watching them that is truly brilliant. I love the way Ben flails about on the stage, jumping around like a kid that’s drank a load of Cherryade and snorted some Party Rings. Lucy beats the shit out the drum, and is easily one of the best drummers you’ll see (and hear.) They’re one of the hardest working bands around and don’t ever seem to not be playing a show, so you’ve really got no excuse!

Produced by Ryan Pinson (who worked recently with the equally awesome God Damn) Clown is a loud number that will make you want to throw your body about until you feel it is about to snap. Clown b/w Who’s Yer Mate? will be out in the Spring on Flatpack Records. They’ve managed to capture the energy from their live shows into a song, that will leave you wanting to follow them up and down the country to attend their shows (don’t stalk them, creep.)

Have some dates for your diary:

Saturday 24th January – The Boileroom, Guildford
Sunday 25th January – The Louisiana, Bristol
Friday 13th February – Lomax, Liverpool
Saturday 21st February – Hoxton Square Bar & Kitchen, London (Free Entry)
Friday 27th February – Sticky Mike’s Frog Bar, Brighton
Monday 2nd March – The Flapper, Birmingham
Friday 27th March – The Castle Hotel, Manchester (Single Launch)

You can stream the track here:

H.GRIMACE- Immaterial Girl.

Posted on by

1395899_726486090769651_2430929579951845116_n

 

 

H.Grimce don’t sound like anything that’s around now. They sound like early Silverchair with the heaviness of the Melvins and the rage of a band like Savages. They also have a delicate surfer-pop kind of feel floating through their songs, especially in the title track of the EP.

Immaterial Girl will be released shortly via the ever wonderful, Soft Power. Soft Power have yet to put out something crap. Actually no, that’s unfair because I don’t want them to do that. They couldn’t anyway. Everything they release is just bloody good and could be why I whine about having no money. It’s alright, there are worse things I could spend my money on. Immaterial Girl makes you wish H.Grimace would just hurry up and release a full length record, but its not easy. It’s never easy. They’re a band who leave you wanting more with their EPs, and that’s how you get it right.

I adore the song Great Divide, it reminds me of early Hole. That’s always a good thing, I’m a fan of Courtney Love and I don’t understand how anyone couldn’t be. Well, we know why don’t we. Never mind… Immaterial Girl is a remarkable EP that as soon as you get to the last few seconds of the last track, Wasted Sun you find yourself hovering over the back button to start it the EP all over again. I’ve played Immaterial Girl a lot this morning, I’m not sure how many listens I’m up to now but there’s something massively addictive about it. Like penny sweets from the corner shop (they’re not that cheap at all now, sadly or fortunately, depends.)

H.Grimace are an exceptional band (and they come from near where I used to live) who don’t hide behind a big sound. They have this strong grip on creating euphoric moments in their songs, and Wasted Sun is definitely a prime example of that.

We need to talk about the song Imogen. Not only is Imogen the name of my Goddaughter (yes, someone was daft enough to make a Godmother, it’s okay we’ve known each other since we were 4 and we’re both as daft as each other.) The bass on Imogen sounds like it was crafted for a James Bond film. The bass creates some kind of heightened suspense and the vocals are creepy at times, it’s bloody wonderful and I’m fairly sure it is THE song that those “critics” will end up wetting themselves over, and you know what? Rightfully so.

H.Grimace will be playing Power Lunches in Dalston on 24th January (release show/fundraiser for the US tour)and after that they’ll head out on tour in America with West Coast delights, Couches. Immaterial Girl will be released via Soft Power Records on 26th January as cassette release.

AUTUMNS- Je Veux Être

Posted on by

????????????????????????????????????

 

When a band/singer changes their sound, it can either be utterly shite or something really bloody great. Fortunately, Autumns are super good and have made something ridiculously good.

I’ve written loads about Autumns since being sent their music possibly a year and a bit ago. I loved how Christian was basically a one-man band, and he reminded me so much of Dirty Beaches. The fury in his music and its cinematic feel was something I really enjoyed and became obsessed with. The new sound is equally as important and a little louder. Loud is good, musically.

Je Veux Être sounds like something Orange Juice would have probably come out with. It’s a brilliant short and punchy number (Ramones did it, many tried to copy but ballsed it up) and it’s the only thing I’ve been listening to for the past half hour. As someone with a questionable (or even non-existent at times) attention span, Je Veux Être is just perfect. It’s a wonderful build up brewing within the last minute and suddenly the last 30 seconds is nothing short of a beautiful fuzzy noise that makes you want to turn it up some more. I had every intention of writing my “Lyrics of 2014” piece, but Autumns distracted me and that’s really okay. I need to give it some more thought anyway.

Autumns are Derry’s finest, and someone somewhere needs to find the funds to bring them to the UK. Easily one of the most exciting bands around who I’m just so bloody proud of. I can hear a few bands I love sifting through the new Autumns sound, and it’s just so good. Christian’s voice is one I really love, and I’m fairly sure their EP (out in February) will be one of the year’s finest moment.

The EP, titled The Blonde EP will be a limited 7″ release out in February.

D’ANGELO- Black Messiah.

Posted on by

 

 

14 years ago I walked into HMV and purchased Voodoo by D’Angelo. I bought Brown Sugar at the same time, mainly because I didn’t have the funds in 1995 but a weekend job allowed me to buy both Voodoo and Brown Sugar. I couldn’t ever choose which I love the most, it’s impossible. D’Angelo has been a huge love of mine for so long, and to wake up knowing a new record was out today was great news. There have been so many brilliant moments in music this year, for me. And I could have happily listed them off until this morning- pre D’Angelo release. So now, I can pretty much say that Black Messiah is THE most important and best thing to happen to music this year.

I’m not sure how to write about Black Messiah. I could pick apart every song and go on about why they are so good, I could go on about why it is so important for someone like D’Angelo to release this record or maybe combine them both and ramble on. I don’t know. I really don’t. I guess if you want a standard review, you’ve got the likes of *insert name.*

So, is Black Messiah a masterpiece? Was it worth the wait? Yep and yes some more. What you need to understand is that D’Angelo is the best R&B singer around. The guy just oozes  real soul. He’s not some auto-tune buffoon relaying on producers to make him relevant. Even when he wasn’t making music, he was relevant. Always. This is the guy you listen to when you want to escape the modern world and go way back in time. He’s got nostalgia (I hate that word, sorry) flowing through his music. Marvin never really died. The thing about Black Messiah is it has been released at a time where something like this is truly truly needed. Sure he is known for his romantic wordplay, but Black Messiah is graciously political in all the right places.

This record is a touch of Al Green and Sly Stone, comparing D’Angelo to anyone current would be offensive to his music because if it wasn’t for him… But anyway, Black Messiah is the most important record of the year. That’s all we really need to know.

If you want your heart broken in a non romantic sense, then play and listen very carefully to The Charade. It captures everything that has been going on with yet again, police brutality and lack of a justice system. If  “All we wanted was a chance to talk, ‘stead we only got outlined in chalk. Feet have bled a million miles we’ve walked, revealing at the end of the day, the charade.” doesn’t move you, then maybe you side with the police. D’Angelo is a brilliant writer, a fascinating story-teller. Shit, Damn, Motherfucker will always be my favourite song by him because of how he puts you in that situation. There is something beautiful in the way he writes about pain, with a sort of child-like innocence to it all. He’s someone who watches and writes about it so effortlessly yet careful. He just knows what to say, and my god, I am happy the wait is over.

 

But let’s be honest now, any record that credits Q-Tip and Questlove is going to be nothing short of genius. Kids that were probably created to the sounds of Brown Sugar and Voodoo now have the opportunity to understand why D’Angelo is so so important. Black Messiah is a result of years of on and off, up and down. But it is here. It is finally here.

We’re living in a time where we have gone back, too far back. A time where we were supposed to have learnt from. Some have, others evidently haven’t. Black Messiah is THE record to zone out from the real world to. It’ll ease some hearts, unleash some tears and speaks so much truth. It is the most powerful record of the year. Hype isn’t always deserved, but when it comes to this- oh it is truly needed. The greatest singer around is responsible for the greatest release of the year, that’s all there is to it. Black Messiah is a real Soul/Funk record that will appeal to anybody and everybody, it’s just so bloody good. Music is powerful, trust no one who thinks otherwise. This record is an expression of desire for unity and freedom, if that doesn’t make you want to see a change in the world then I feel bad for you, I really do.

The record ends with Another Life, a six minute dreamy gem to drift you off some place else but keeps you in the moment enough to hit play all over again. Each song gives you something new and a different way of seeing things. Frustration and love trickle through the Black Messiah. 14 years is a crazy long time, but if this is what happens then maybe it’s alright. But, D’Angelo don’t leave us so long again.

 

BAND PRACTICE- Make Nice.

Posted on by

“I don’t know how to make nice
I don’t know where I went wrong
I don’t know how to tell you
So I learned the words to all of your songs.”

 

I’m currently faced with one of the most difficult tasks in life- buying a new coat. I hate all of them and I think the best solution to not be cold is to just not leave the house during Winter. If I need anything, I can just buy it online. But then again, there’s the thing of having a job and having to leave the house to get there. It’s all so difficult. You know what else is difficult? Trying to break in my new Docs. I don’t want to part with my old ones. They’ve been through a lot. I clearly don’t adapt well to change do I.

Writing about a band that I love is usually easy. When it;s a band that I’m pals with, then it feels a bit weird. Then again, if I didn’t like it I wouldn’t write about it so there’s really nothing to worry about.

Yesterday, finally, Band Practice released their debut record Make Nice came out today. If I was going to make a list of brilliant records of 2014, I’d definitely put them in there. But I’m not doing that this year, I’ll do lyrics instead. Anyway. So the record came out today and it’s ridiculous.

Band Practice are Ben and Jeanette (she does The Miscreant magazine. I write for them, she’s awesome as is the magazine. She didn’t tell me to tell you that, I felt like it.) JW’s voice is beautiful.

The songs are everything you thought high school would be. For me, it was nothing like it. There were no crushing crushes, nothing of the sort. I was and always be an average bore. Band Practice have provided songs that will ease anyone out of their awkward stage, or in adulthood- make it easier to deal with.

The 9 track record starts with the awesome Band Practice Theme Song. JW pays a little homage to wonder kids Comfy in the line, “This is my big comfy scarf.” This is the perfect track to open Make Nice with. But I want to talk about my ultimate favourite off the record, Bartending At Silent Barn. It’s full of wonderful self-doubt and I’m pretty sure anyone who listens to it will relate to it a hell of a lot. I adore the line, “Nobody in my head likes me so sometimes I get lonely .” It’s such a sad line, and I’m fairly sure why I love it. I tend to go for lyrics that are quite self-loathing and the like. I love the way JW sings this song, and I feel a bit awkward talking about how she sings! I love how there’s a bit of a fed-up feel to her voice at the start, then a little giggle happens (I think it’s a giggle) and the song just smacks you beautifully in the face. The drums, always the drums isn’t it.

Band Practice have basically put a record out to fit every mood. If you want to sulk in your room, stay in your pjs and never see anybody again- this is the record for you. Ultimately,  you can also flail your limbs about to some of the tracks without a care in the world. Do a mix of all of them, but make sure you don’t overlook the lyrics. The lyrics are gorgeously crafted, and yet again, another band that make me wish I had even a small fraction of musical talent. Alas, I don’t. I just do this instead. Some of the songs will break your heart (Spare Parts) but really, what you’ll adore are the quick-witted lyrics sung by Jeanette and Ben. See, this is why duos are just the best.

Make Nice has been released by the great Chill Mega Chill, and you can buy the tape/download it here:

https://bandbandpracticepractice.bandcamp.com/album/make-nice

Embrace the cute corgis and play as loud as you like. Oh and if you’re fortunate to live in NYC, go their release show this Friday at 603 Upstairs : https://www.facebook.com/events/1526395474274610/?ref=22

NADINE SHAH.

Posted on by

“Check your pulse when I speak.”

Originally I was going to write about Nadine’s new song, Stealing Cars. I started it last night, felt sick and went to bed. A new day has dawned, I’m still ill (Hi Moz!) so I’ve started it again. Why focus on one song when I can just ramble on for a bit about why her voice is probably one of the best things around.

Last year I wrote about Runaway for another website I write for. I didn’t acknowledge how it made me cry instantly. I never mentioned that Nadine’s voice can reduce me to tears instantly. Now I have, I should probably attempt to say why. You can hear proper venom in her voice in Runaway that won me over. Then I started really listening to the lyrics. I love lyrics, probably because at times I’m underdeveloped emotionally but if I could function properly I wouldn’t have filled up so many notebooks nor would I be doing this. You can hear her voice beautifully quake as she sings the chorus, you cling onto it all. You want to yell “whore” with her. Nadine doesn’t yell it, but it’s a word that makes you want to yell. Only if it’s in a song though, don’t go round calling people it. That’s not too polite. The music feels like a train approaching, all you can do is let it pass you by. It builds up hauntingly during the chorus. A year on and the song still gives me goosebumps (I’ve also got the window open.)

Love Your Dum And Mad was 2013’s most underrated record. I don’t care what you say, so many people bypassed such a beauty. Redeem yourself. As far as debut records go, this one is something else. The sheer darkness and Nadine’s way with words would make Nick Cave piss his pants. She’s instantly up there with him. Why? Because she puts you in the moment. I know she’s been compared to the likes of Nick Cave and to an extent it can be tiring. But my god she’s a majestic storyteller like him. She’s got power in her voice like Patti Smith, you can’t help but be in awe of her.

After playing Ville Morose most of today and last night, I am quite keen to start an online petition to get Nadine to sing a full record in French. Listen to it through headphones. No idea what she’s singing, mainly because my French goes as far as “Ou est la piscine” and my fondness for the French word for bin, “poubelle.” The latter probably annoyed my French teacher in school. “OU EST LA POUBELLE MISS!!” I got a C in my GCSE and I did it a year early. Très bon.

I’ve seen a few gigs recently in churches, and I can’t help but think that Nadine’s voice was made for the likes of St Pancras Old Church or the Union Chapel. Her voice is big at the right time in songs. She’s got the kind of voice I wish I had when I sing. It’s best if I don’t sing. Or speak in French. Much like Anna Calvi, she has this dominating deep voice that takes over you and sings with such clarity. She grips you with such a force, you almost don’t notice.

It has never happened before really, but her music reminds me of one of my favourite books, Bel-Ami by Guy de Maupassant and in places,  Down and Out in Paris and London by George Orwell. I don’t know what it is, maybe I go far too deep into things but her music and voice really gives such powerful imagery. Listen to Dreary Town, you’ll probably get what I mean. Her voice on that…if I had the words, I would use them. I don’t have any words to describe how powerful and beautiful it sounds. In some songs her accent comes through, like on Floating when she sings the word “Lover” it comes through. I love hearing accents in songs. Not London accents so much.

There’s a singer I’ve been writing about now for maybe nearly two years called The Long Wives (Brandy St. John) and her voice reminds me of Nadine’s. The way both really put you in the heart of the song with how they project certain words and aren’t afraid to be really open with their words. It’s a level of honesty that is missing in so many. I’m fairly sure if I went to one of Nadine’s shows I’d be the idiot at the back sobbing at every song. Sorry.

This is pretty much all over the place, mainly because I can’t really focus on one thing to write about at a time when it comes to her music. I listen to something, and I’m hit with something else. Sometimes that’s what you need. You don’t always want to feel or think of one thing when you listen to something. You want it all to hit you at once. I’m all for chaos as I loath routines and organisation.

I am fairly sure, and this is just me going by Stealing Cars, that Nadine’s new record which is out next year will be utterly special. A voice likes her’s is rare and divine. It is to be treasured yet played pretty much all the time. I adore the dark and creepy atmosphere in her music mixed with her captivating voice. She’s just sublime. J’adore!