After the success of his first album, Savoretti’s returned with a fresh collection to take on the road.

In Breaking All the Rules, his deep, mournful voice aches with every word he sings so that, even when the lyrics slip into unashamed cliché, it still sounds heartfelt and genuine.

The song is well-crafted with strings for heightened drama and a steady, snapping snare. The unrelenting drum beat creates the impression that you’re there by his side on the off-set to a great journey: decisive, reliable and set squarely in the middle of the road.
Perhaps the familiarity comes from the smooth, faultless production of Martin Terefe, which brings with it hefty overtones of James Morrison. However, where Savoretti may be breaking ground personally, musically he’s not.

Nothing about Savoretti’s new single seems like it’s breaking the rules or even taking a risk. In fact it has all the comfortable familiarity of a classic old tune and the confident, poetic style you’d expect from an experienced crooner or blues artist.

With his winter tour just coming to an end, perhaps his steps will find him a new direction and further successes in 2013. Sure to be a hit with anyone who appreciates easy, melodic music; an all-round pleaser.

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Attention — The New Folk Is Here

Manchester outfit, Amida, have been doing the rounds for a number of years now. While relatively unknown on a national scale they have picked up quite a following in the northern parts of the country with their jangly garage rock & roll.

This summer marked the release of Amida’s fourth and longest EP, My Life As A Trashcan on Jigsaw Records. With eight songs it could be seen as a mini-album of sorts, yet at only just over 18 minutes long it is hard to envisage calling this an album.

All three of Amida’s previous EP’s have been just as short and sweet – only one song, Weather from their second release If The Wave Loves Two Suns has been over three minutes – so with two songs on this EP bordering on four minutes you could call this somewhat of a progression from a band that clearly feels comfortable and content in their sound.

That is the overriding impression you get from this band, that they are content and confident in what they are doing and don’t see the need to change for anyone. It is a liberating thing to come across, a band still developing yet completely at ease and without any musical insecurity as to what they want to achieve with each release.

My Life As A Trashcan starts with the title track, a song that sums up everything that makes Amida great. Jangly, fast paced guitars that hark back to the early 2000’s guitar resurgence inspired by The Strokes and The Libertines contrasting with the dry witty lyrics of singer John Ammirati and again at just 1 minute and 31 seconds, short, brief yet engaging.

This here lies the dilemma of My Life As A Trashcan and Amida as a whole. While it would be a shame for them to lose their identity as a band by changing their sound (or more the length of the songs) the shorter of the tracks do leave you wanting that little bit more. This can arguably be just as much a positive as a downfall, yet you are left with somewhat of a feeling that had each track had that extra minute you would feel slightly less rushed when listening to this EP.

Second track A New Low is one of the stand out songs on this release. Slightly less jangly and with more of a focus on the lead guitar it sounds like an early reincarnation of The Cribs with Ammirati’s croaky vocals sneering “I never really liked you anyway” conjuring images of Ryan Jarman.

It is very apt that My Life As A Trashcan was released at the end of June in the height of the soaring sun because in Let Me Do This For You, Amida have one of the best summer tracks of the year. Keeping that signature jangly guitar sound, Amida have slowed the tempo, while Ammirati sings in a more tuneful restrained fashion. The songs opening lyrics of “Looking up at the gutter, summer loving, looking up at the sky, praying to who” keep in tone with Amida’s dry black comedic sense and just like any good pop tune allow for the music to set the original feeling – the feeling of summer – while the vocals offer a more sad nostalgic overtone.

A personal highlight for this writer is Thank Constantine. Here you get a more evolved sound from Amida, a darker feeling, fuzzier bass and the brilliant use of the xylophone dipping in and out before the verses. It leaves a certain feeling of contentment and relaxation that is a nice contrast to the rest of he album.

My Life As A Trashcan is certainly not perfect. It could possibly have benefited from a more enhanced production process, yet had it been produced in the way that so many bands go about their business nowadays, I have a feeling it would have lost Amida’s identity and that is an identity and character that is very much worth holding on to.

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Sheffield’s most time honoured live music venue is now at the forefront in the running for one of the industry’s most prestigious awards.

The Leadmill – which celebrates its 31st birthday this year –constituted one of the nine venues originally nominated for the Live UK Music Award and has now made it through to the final round of voting, which will conclude at the awards ceremony on the 6th October.

Short-listed as one of the final three establishments nominated for the Best Venue Teamwork (+800) award, The Leadmill is competing alongside Nottingham’s Roxy City and Brixton Academy with Koko – both greatly esteemed London venues.

Live UK is the only music industry publication focused solely on live music, read by the industry’s most influential people, and the award is an outstanding achievement for one of Sheffield’s most highly regarded music venues.

Rupert Dell, General Manager of The Leadmill, said “We are so very proud to have made it into the final three nominees for this award. We pride ourselves on hosting outstanding gigs every time and feel this accomplishment sums up just how passionate we are about delivering fantastic live events.

We’re so excited and this nomination is testament to the huge efforts the team puts in, as well as the loyalty of those who continue to support and enjoy The Leadmill.”

The winning nominee for each category will be announced at the award ceremony, which takes place at the Radisson Blu Portman Hotel in London on the 6th October.

This Autumn The Leadmill are offering another outstanding line-up, hosting gigs from Benjamin F Leftwich, The Pierces, Miles Kane, The Twang, Pop Will Eat Itself, Billy Bragg, British Sea Power, The Pigeon Detectives, Death in Vegas and many more.

See here for their full line-up and to purchase tickets or for updates on The Leadmill events visit their Facebook or Twitter pages.

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Tuning In: Part 1

The Blackout’s much anticipated third album, Hope, was released last month on April 4th. Delivered by a band well-known for having the “love to hate” factor, along with a ridiculously loyal fanbase (commonly known as the ‘Riot Squad’), opinions are bound to be divided. Having toured with huge names in the rock industry, such as Limp Bizkit, My Chemical Romance, Lostprophets and Paramore on the back of their critically acclaimed sophomore album, The Best in Town, the Welsh rockers have certainly managed to make a name for themselves, thus far. Can Hope propel them to an even higher level?…

1. Ambition is Critical

Originally released as a free download, the opener to Hope is certainly a banger. Riff’s flying everywhere and the kind of anthemic chorus that some may have said The Blackout lacked in their previous discography, Ambition is Critical is potentially the band’s best work to date. “Call us what you want and say what you will, we are doing this for nothing but the thrills” is a clear two-fingered salute to the haters of the controversial post-hardcore rockers and if any song was going to change opinions on the band, this is it.

2. Never By Your Side

We see the classic combination of Sean Smith’s harsh, screaming vocals and melodic voice of Gavin Butler working to great effect on this track. It’s certainly not the most restrained song they’ve ever done, but a tune that will definitely get the pits moving at live shows. Containing backing quotes from the American Civil Rights movement, it’s certainly inspiring enough to become a classic for fans of The Blackout. Big.

3. Higher and Higher

The first single from Hope, Higher and Higher is certainly an opinion divider. Containing a verse from Hyron Fenton, commonly known as Houston rapper Hyro Da Hero, it’s completely different from anything the band has previously put its name to. While the addition of (God-forbid) rap vocals may offend and surprise much of the bands fan base, it’s energy and radio-friendly, catchy choruses are bound to attract masses of new fans. Extremely well produced by the band’s long-time producer and friend, Jason Perry.

4. Hope (Scream It Out Loud)

The Blackout had extensive financial difficulties in the process of recording Hope and had to enlist the support of Pledge, a company that allows bands to auction special items, important memorabilia and events to fans in order to raise the necessary funds needed to record an album (whilst also gifting loyal fans the opportunity to contribute to the band’s album). Hope (Scream It Out Loud) contains a gang of vocals from over thirty of The Blackout’s most dedicated fans and is certainly a song that is appropriate to earn the album title. As far as ballads from heavy rock bands go, it’s rare that they get the appreciation that they deserve, and this song is likely to stick with the trend. It’s got a harmony that the likes of Take That and U2 would respect, but realistically, it’s probably not gonna get the number of plays that it potentially deserves. “Never give in, hope is all we’ve had and all we’ll ever know.”

5. This Is Our Time

In a similar vain to Shutthefuckuppercut from The Best in Town, This Is Our Time is heavy, catchy and goes at a million miles an hour. Sounding extremely f**ked off and ready to take the music industry, Britain, America and the World by storm, The Blackout have written a cracker. As screamy as they’ve ever been, but with a chorus that’ll blow your head off, this will certainly be a favourite with the Riot Squad. They’ve definitely proved that progress can occur without necessarily changing the tone of music that have won them so many plaudits. The Blackout deliver a clear and frustrated message to all the rock bands they’ve seen submit to pop music, as they scream: “Sell up, sell out, to scrape your way ahead” and “Sell up, sell out, we’re seeing fucking red” and man, have they managed to stick to their guns. Tune, tune, tune!

6. The Last Goodbye

Packed full of cheese, love and honesty, The Last Goodbye is as near to a teary-eyed love song as The Blackout will get. Saying that, they’ve managed to perfect writing impressive, well constructed songs and this is certainly a lighters-in-the-air moment at live shows.

7. No More Waiting

It often irritates music fans when they see bands potentially reference, or at least become heavily influenced by huge bands, but on this track, The Blackout manage to funnel the fury of Rage Against The Machine into a mental breakdown, as the band scream: “Wake up, wake up, WAKE UP!”. The mosh pits will become a no-go zone for anyone who values their limbs. Heavy, big and full of confidence, No More Waiting is certainly a song to be proud of.

8. The Devil Inside

The Blackout often describe themselves as Nu-Metal, and on some of the tracks on this album, that label is definitely inappropriate. On this song however, it fits entirely. Floor-shaking riffs, harsh, heavy vocals and a seriousness that we don’t often see from the band, it’s hard not to respect this song. While we’ve become used to The Blackout’s not-taking-itself-too-seriously rock music, this song is a huge step up. A heavy, moving, mature tune, containing an epic guitar solo. The Devil Inside is certainly impressive.

9. You’re Not Alone

A very commonly used song title, You’re Not Alone is unlike any other made so far. It’s as poppy as The Blackout have ever been and a song that definitely shows off their song writing ability. Despite it’s big rocky chorus, it’s possibly more of a filler song on Hope — it’s not one you should expect to see at their live shows too often.

10. Keep On Moving

Comparable to the previous song, The Blackout’s new and improved mature writing style takes its shape in the form of a ballad again. It’s easy to imagine that if the likes of Joe Mcelderry, Justin Bieber and JLS (artists — if you can call them that — who should never, realistically, be named in the same review as The Blackout) had written this song, it’d easily be found in the upper regions of the UK Singles Chart. As they haven’t, it’ll probably, unfortunately, be lost in the abyss of forgotten, potentially great, rock songs.

11. The Storm

The album closes with a huge bang, as The Storm is a combination of heavy, catchy, melodic and screamy – everything that can be used to describe The Blackout and Hope. It’s almost as if they’ve taken all the energy from two years of live shows and put it into this song. Fast, yet extremely grown-up, this song deserves its place on the Mainstage at Leeds and Reading Festivals this summer. As the words “don’t tear us apart, I’ll tear you apart” are chanted, it’s hard to remember just how far The Blackout have come. This is certainly a highlight from the album and the perfect way to end Hope.

RATING – 4/5

While some may argue that Hope doesn’t contain the individual, popular hits that became familiar on The Best In Town, it’s much more of a journey of great songs, much more of a complete album. The album manages to combine huge choruses with the heavy, screamy vocals that we’ve become used to hearing from The Blackout. It’s an album that was made by a group of people who managed to overcome adversity and that’s certainly represented throughout. Overall, a top effort and album that deserves to push The Blackout on to bigger and better things.

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