VIDEO PREMIERE! Ten Ton Man - Fine Line

Single review by soul1@thesoundofconfusion.com

Enigmatic New York group Ten Ton Man only add to thier mysterious quality with this new video for 'Fine Line'. Taken from forthcoming EP 'Chunk Of Change', the film finds the trio (who to make things ever more unusual are all called Paul) performing in a dimly-lit dive and features famed burlesque dancer Dirty Martini. Given this and their other songs, they seem like the kind of guys who have a story or two to tell, and their style lends itself to even more intrigue. A bluesy, almost rootsy form of Americana that will sit nicely in your collection next to Tom Waits or Grinderman, it's not just the visuals that provide the atmosphere.

Muically these three men make use of conventional "rock" instruments and also dip into the past with more acoustic instruments such as a double bass. Cinematic in its ambience, 'Fine Line' is part Western movie and part Tarantino in its sinister undertones. It sounds as though there are more members in the band than there actually are, and this will surely be down to their experience and their abilty to turn their hand to songcraft and arrangements; just listen a bit closer, there's more detail here than you might first think. Dark, dirty, dangerous and suggestive, the perfect match has been made between the visuals and the song. We'd throw some change into their hat if we caught them out busking, although they'd probably be in the part of town our Mums told us to avoid...



Ten Ton Man's website





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The Heartbreaks - Q&A + Video & Free MP3

Article by soul1@thesoundofconfusion.com

With a second album, 'We May Yet Stand A Chance', ready to launch in the summer (June 2nd) and a new single, 'Absolved', due the week before, we thought it would be perfect timing to catch up The Heartbreaks, with one of the best and most criminally overlooked bands in the country and find out a bit more about the record that's already given us the Western-style freebie '¡No Pasarán!' and the typically awesome and melodramartic single 'Hey, Hey Lover', both of which you can hear below.


The Sound Of Confusion: Hi guys! The new single is sounding awesome. A few years ago, songs like that and those contained on your debut would have been all over the radio and in the charts. Do you feel slightly hard done by that because guitar music has slipped out of fashion a little in recent years, you haven't had the top 10 hits you may have had in another time?

TH: Yes.


TSOC: The good news is (and we've been suggesting that is is the case for a while) that last year "rock" albums outsold "pop" albums for the first time in years. Does this give you hope of perhaps building an even bigger fanbase and gaining the recognition you deserve?

TH: I dunno... It's not like we even consider ourselves to be "rock", you know? We want to be pop! It does feel like something's happening though. For the first time in a long while, we really feel like we're connecting with people. And we like it.


TSOC: The new single is as gloriously melodramatic as ever and feels like a continuation of the sound you've established for yourselves. The video shows a slight change of image though. Will this be reflected in the music at all? Can fans expect some surprises from the new album?

TH: Thank you. I hadn't thought about the change of image thing... Do you really think so? You know, nothing about this band has ever been contrived. Everything happens very naturally. The album will surprise many, yes, but to us it was just a case of committing to ideas more. Ideas that were always inside of us but that, perhaps, weren’t fully formed on the first record.


TSOC: The album's title, 'We May Yet Stand A Chance' seems self-depreciating in a way. Is that the case or do you really mean that, as mentioned, you had every right to expect bigger sales from past releases? 

TH: I think it's equal parts self-deprecating and hopeful. You know, a lot of the lyrics on this record deal with finding hope where there appears to be none; be it in a releationship, in a political sense or in regards to the band itself... We liked the ambiguity, I guess.


TSOC: One thing The Heartbreaks have always had is the respect of other musicians (you worked with Edwin Collins for example) and a solid fanbase. Without this, would you ever be tempted to disband and look to other projects? (Please don't by the way!)

TH: Never. I don't think any of us could imagine doing other projects. For better or worse, we're Heartbreaks till we die.


TSOC: When 'I Didn't Think It Would Hurt To Think Of You' made our top songs of the year list in 2010, a few people suggested that it sounded like it should be in a movie. Do films influence your style at all, and if you were approached by a director to write a score for a film, would you go for it?

TH: There's a real widescreen, spaghetti western feel to a few of the songs on the new album, actually... It's very triumphant and majestic and rousing and what have you. We went to see Ennio Morriconne and his orchestra in Verona last summer and he completely blew our minds. That ability to make you feel every human emotion over the course of a two hour show... Oh boy.


TSOC: It's not often we hear about bands from Morecambe, although I assume it must have a music scene. Is this because many bands head into Manchester or Liverpool to try and further their careers? Are there any undiscovered local bands we should know about?

TH: There are a few young acoustic troubadours knocking around, which is symptomatic of the fact that the only places to play are pubs. Phil Turner, Joe McCorriston, Damon Kilcawley... Unfortunately they don't get a lot of support from the local radio station, which instead seems happy to play exclusively Hot Chocolate from morning to night.


TSOC: With a few years of touring and so on under your belt, do you have any rock n' roll stories to tell? What's the most rock n' roll thing you've ever done? Or is it straight to bed after shows? (Pretend your Mums won't be reading!)

TH: I’m afraid there's nothing more un-rock n' roll than telling your most rock n' roll stories... There is one involving Joe, Morrissey and an aubergine... No, I can't.


TSOC: I guess it'll be all systems go promoting the new record for several months now, but what are the long-tern plans for the band? Where do you see yourselves in 10 years time?

TH: I think it should be quite apparent by now that we don't actually have a plan... Gosh, I can’t even see 10 months in advance, let alone 10 years. Hopefully somewhere in Scandinavia.


TSOC: Finally, it's fantasy festival time! You're curating your own festival. The Heartbreaks are headlining and you get to pick five acts, past or present, to also be on the bill. Who do you go for?

We wouldn't want to headline! We’d go on first then we can have a drink. I suppose it would have to be pre-1967 Supremes, original line-up Oasis, mid-'80s pomp Springsteen, 'Combat Rock' era Clash and, to headline, imperial stage Robbie Williams.





The Heartbreaks' website

Catch them live:

March:
Wed 19th Bristol, Academy (supporting We Are Scientists)
Thurs 20th London, Shepherds Bush Empire (supporting We Are Scientists)
Fri 21st London , Koko (Club NME)





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ALBUM PREMIERE: The Battles Of Winter - Standing At The Floodgates

Album review by soul@thesoundofconfusion.com

If you've heard recent singles 'A Blackout For The Bloodsuckers' or 'White Count' from The Battles Of Winter, then you'll have spotted an exciting and powerful take on post-punk (the former) and something a touch less full-on but perhaps even more potent because of this fact (the latter). For obvious reasons it's usually the most radio-friendly/accessible or simply best songs from an album that get singled out, and this can mean that when faced with larger collection of music by the same band, the singles really stick out and the others take a bit longer to be given the same love. Or, sadly, it turns out that the band in question only had two or three good songs in the first place, the rest being padded out with filler. What's really exciting is when you hear an album for the first time and you get it straight away. No waiting for the sixth play for it to sink in, and no overuse of the skip button.

Formed several years ago in London, The Battles Of Winter now live in different locations, but this has no detrimental effect on their music. Far from it in fact. It may have taken the quartet a while to get to the album stage, but had they put out a set of songs a few years ago then it's unlikely that it would be to such a high standard. Britain (and much of Europe and North America) have seen some battles this winter, but as spring arrives we can start embracing the warmer, brighter days and start discovering some of the records that could define our summers. 'Standing At The Floodgates' isn't sunny pop, it's dynamic and sometimes anthemic post-punk/alt-rock, but it still lightens the load on your shoulders. It also works even better as an album than if you were to just skip through the singles; you'd be missing out big time. Whether it's the extra time or the natural talent, The Battles Of Winter don't seem to allow any music on their records to be substandard at all.

With an anthemic grandeur to go with its guitar onslaught, 'The Engine (Of Civic Process)' makes you feel about a foot taller, such is its impact; the thumping, pounding, relentless 'Where Did You Get Those Fireworks' has some superb guitar work and sees the band experimenting with what they can do, bringing in flashes of krautrock and darkwave, but never feeling out of place; these songs flow together as one. Stretching out towards six-minutes in length, it's the prowling centrepiece of the record. A different kind of darkness strikes us on 'He Fell From Above And Hit The Rocks Below', a song that lyrically and at times musically recalls Nick Cave, but despite the less than cheerful subject matter, it still packs a punch, particularly when everything bursts forward for a dramatic ending. Those chiming guitars take the intro to 'My friend The Scapegoat' and sent it skyward, perhaps in a similar manner to someone like Nick McCabe. This is another song that makes use of well thought-out lyrics and different dynamics, switching to a slower mid-section before blasting us with a grungy ending. There's a slight philosophical angle to the title 'Numbers Are Just Shorthand', but musically this is more single potential and is best served very loud. It's less complex than some tracks here, but isn't diminished by this fact in any way. On closer 'I Became A Station', the band run through everything they have in their arsenal, but not just for the sake of it. The slow, moody build-up, the neat lyrics, the powerful dynamic created by a group of musicians who are all on the same page, the anthemic, epic qualities that have cropped up throughout, the ambition, majesty, force and determination; it's a fitting way to sign off. This battle has been well and truly won.


The Battles Of Winter's website

Catch them live:

Wed, March 26, The Macbeth, London, United Kingdom





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Out This Week - 17th March 2014

The New Union - Now

Brighton group The New Union, or so it has been claimed, could be the best new indie band in the country. Going on new single 'Now', that's something that might not be out of their reach at all. This isn't a guitar band who are copying Oasis, The Libertines, Arctic Monkeys or the usual suspects. They have an anthemic and reasonably commercial sound that fits traditional ideals without having to steal. Ones to watch for sure.





The New Union's website

Buy the single





Gentlemen - Duke Oddity

London's Gentlemen have released two EPs: 'Night Reel' and 'Night Reels II'. As you can imagine, the two have a connection, and this week sees the two issued together as an album. A new video has been made for the track 'Duke Oddity'; a blissful and woozy piece of instrumental, ambient psychedelia that may remind you of early Pink Floyd.





Gentlemen's website

Buy the first EP

Catch them live:

Tues 18th March Sebright Arms, London, United Kingdom





The Welcome - WEEKNIGHTS

This band from Chicago describe themselves as "Coed Pop", but to be honest we're not quite sure how that works. Still, The Welcome realease their album 'WEEKNIGHTS' this week and if we were to pick a way of describing single 'Henrietta' then we'd perhaps call it grungy indiepop, but college-rock would also fit, which we guessing is kind of what they were getting at.


The Welcome's website

Stream or buy the album





Soak - Blud

Soak is the chosen moniker for Nothern Irish artist Bridie Monds-Watson, someone who has caght the ear of CHVRCHES who not only remixed new single 'Blud' but have also made her the first signing to their label, so that should gain her some deserved attention. Soak is a singer-songwriter who bypasses the rigidity of the genre and delves into the realms of dreampop for her debut single.



Soak's website

Buy the EP





OBLIGATORY RECORD OF THE WEEK

Life - Money

One or two British indie/guitar type bands have broken into the charts, so there are glimmers of this revival in guitar music that we've been going on about, although they are a little tame. I guess it's a case of weaning the public back onto that style of music. Hull band Life aren't offering anything radical; in fact their sound could be put in a similar bracket to people like The Vaccines; another band who've had some success but with a much better and more alternative sound. 'Money' is pretty traditional indie-rock fare, but it's got some bite to it and is a heck of a catchy nubmer. Lo-fi fans and those into the more avante-garde side of things might have heard it all before, but for many people this will be the exiting new band to believe in that they've been waiting for.





Life's website

Buy the single





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Dominic Wolf - Behind The Sun

Single review by andy@thesoundofconfusion.com

I've always fancied owning a pet wolf you know readers. The thought of taking him for walkies amongst the poodles and spaniels, lovingly polishing his fangs, or being horribly winded by a light swish of his tail, fills me with a warm and fuzzy glow. Alas, sadly there are just too many stumbling blocks for the relationship ever to succeed – my inherent scared-stiffness of him, and his willingness to eat me as I doze on the couch, being two of the major factors. Thus our happy life together is never to be.

Even better than owning one of these friendly furry death traps, would be to actually BE a friendly furry death trap, and today we have the real pleasure to introduce you to one such beast – a remarkably talented wolf by the name of Dominic, who incredibly has honed his paws to such a level of dexterity that he's now able to pick up a guitar and compose fully fledged, bona fide, proper tunes!!

*Editor comes over to whisper*... I see... I've just been informed that Dominic Wolf is actually a human and not an animal at all... that makes much more sense now I think of it... hold on please readers, I best do some research...

...Right, so it turns out Dominic is a London-based songwriter of Swiss origin with a decent crop of hair, but not enough to be classed as fur - that's not quite as cool as what I originally believed, but acceptable nonetheless. Putting identity issues aside however, what we can tell you is that with new single 'Beneath The Sun', lead-track from the imminent 'Masks' EP, Wolf is striking out from the folktronica pack and setting off on the prowl for wider recognition.

Strings are plucked unhurriedly during a gently unfolding, acoustic-guided intro that allows Wolf's weary vocal the space to spell out the state of play, as a stuttering relationship reaches its make or break crux. Softly looped beats then tip up to add a pulse to his plaintive persuasion, and though lighter skies on the horizon appear to beckon at one stage, they're quickly banished as the track descends to its shuddering conclusion; an increasingly desperate "find the sun" vocal refrain being swallowed up by the steady creep of low-key but brooding electronic sequencing. Like unsuspecting prey suddenly realising they're encircled by a baying predator, 'Beneath The Sun' travels quickly from calm self assuredness, into a place of panic, dark desperation and confusion – and it's just that transition that gives the track its stamp of quality. Be on the hunt for more from Mr Wolf folks, if this is a marker of his territory, it's a place worth exploring.

Buy the EP on its March 16th release here

Dominic Wolf's website





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Five For Free #272

BEGINNERS - Who Knows

The name BEGINNERS is a bit misleading. Samantha Barbera, who had been the singer in a hardcore band, and Nick Ruth who's produced artists including Active Child and Mikky Ekko, knew each other before a chance reunion. They started working together, and are now a trio with Ruth as a fourth production member, and they have gorgeous indiepop songs like 'Who Knows' from their self-titled EP.



BEGINNERS' website

Buy the EP





Protomartyr - Come & See

Despite varying reports about Detroit's demise/rebirth, it's always been a force for the good of music, from Motown to The MC5 to The White Stripes, so finding garage-punk bands like Protomartyr is no surprise. The splendid 'Come & See' is a moody and sharp number that's taken from their forthcoming new album 'Under Color Of Official Right', out April 7th.



Protomartyr's website

Pre-order the album





Bellman - Your Sister

Knowing exectly where Norwegian artist Bellman fits in is difficult, but that's no bad thing. From his current album 'Melopoiia' is 'Your Sister', a wonderful, melodic song that you could call dreampop, indiepop, alt-pop or just pop. I think you get the idea: it's a pretty easy listen, but a very rewarding one at that. More of the sort of pop that should be topping the charts basically.

Bellman: 'Your Sister'
(Click to stream, right click, save as to download)

Bellman's website

Buy the album





Inspired & The Sleep - Fly Low

San Diego is fast becomming a centre for psych-pop (it may have been for years but we're just hearing about it now!), and Inspired & The Sleep are one of the bands of note from that scene. You need look no further than their new single 'Fly Low' to see that their experimental form of indie music is gearing us up nicely for the best summer in years. Right?



Download 'Fly Low' for free by heading here

Inspired & The Sleep's website





Seabright - April Grass

Well that's a sweet, magical, fantastical piece of artwork, and you'll be pleased to know that the song follows suit. Not quite sounding like anything else, 'April Grass' from Seabright sounds a bit like its being beamed in from another dimension. Either that or this is the kind of music you hear in your dreams and wake up wishing you could remember.



Download 'April Grass' for free by heading here

Seabright's website

Stream or buy the album





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Leon Of Athens - Global

Single review by Emma Molloy

Greece's indie-pop-electro mash-up Leon of Athens brings us his brand new single 'Global' off his debut album; and you are certainly in for a treat. The track opens softly and soulfully, with subtle light tones that put you in a state of comfort and relaxation. Yet as the track unfolds, its electronic nature starts to become more apparent and there is an effortless cascade of colourful sounds, with at times melancholy harmonies converging into a mirage of oceanic energy.

'Global' radiates a heartfelt atmosphere, as the lyrics explore the never-ending journey of a character who seeks a quiet place amongst the crazy dominating world that surrounds him. The euphoric track allows you to lean in closer to catch every mesmerising note and sincere lyric while the song finishes on a much more rhythmic and pop-filled delivery.



Leon of Athens' website





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