With successes such as supporting the likes of Feeder and Florence and the Machine, you’d expect great things from History of the Trade. Yet it’s not until the chorus of their track One Arm’s Length that they really show their true colours and play into a comfortable stride. The steadily increasing pace is enjoyable, the track progressing into a more commercial and mainstream set up.

‘Everything is kept at one arm’s length’ suggests a song about something a little torturous and a little painful, sung empathetically so that the listener can feel the emotion of their words. What makes History of the Trade interesting however is that the lyrics are almost obsolete when the track is taken as a whole. The blend of the music, lyrics and harmonies create a track which works as a sum of its parts and doesn’t need to be divided into individual elements to extract its worth at the tracks peak points. History of the Trade are definitely onto a winner.

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London based rock ’n ’rollers Limozine are set to release their new single Tokyo 1970 November 19th on Beat Atlas records. Their previous three full albums have all been met with great acclaim and their next one You’ve Been Limozined (set for release may 2013,) looks to receive the same warm welcome from the rock ’n’ roll scene.

Tokyo 1970 is two and a half minutes of what is now classic rock. It’s a pastiche of everything that was rock and roll, everything we used to listen to but recorded and released in a day and age that thinks its past all of that. So it is good to see a band still sticking to it and singing the virtues and freedom of rock and roll as it was. What you have within the song is much like you will have heard before; it’s the rock and roll formula. Punky, committed vocals, solid drums and dirty guitar riffs, it’s like a British Ramones all grown up. The track packs some serious punch in its recording and pure attitude and it is a party track through and through. It is however a two minute track of faith. This is a band who play rock and roll to the people who love rock and roll, and you can decide for yourself whether or not you think it is relevant today in comparison with music that is more a la mode. I could list rock ‘n’ roll review buzz words such as ‘sleazy,’ ‘booze-filled’ and ‘Guns n Roses,’ but at the end of the day you just have to listen to it and enjoy it for what it is, two minutes of rock and roll indulgence. I can’t say fairer than that.

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If you haven’t heard of Liz Lawrence, then now is the time to get listening out for her. Her vocals are like silk to your ears with an added edge that leaves you feeling refreshed and contented. Somewhat resonant of the likes of Florence and the Machine, there is suggested power behind her voice that isn’t quite used to its full advantage. There is simply something beautiful in the way she performs Oo Song that makes you want to hear more, ‘All those seeds you sow / where do they go’, placing a smile on your face no matter what your mood.

With a clever title like Oo Song, Lawrence sets you up for a clever little number in tow – and she doesn’t disappoint. Indeed the chorus consists of varying intonations of ‘uh-oo, ooo’, which is to be expected, but becomes something a little bit special when sung by her sweetened vocals and are memorable from the first listen. The fact you can easily sing along without fear of getting the lyrics wrong is an added bonus.

What’s more interesting about her song however, is the fact you can take several layers from it. Whether your wanting a song for face-value happiness with a cheery back track and lifting guitar riff, or something with deeper meaning on the ever-popular subject of love and loss; ‘the seasons change but that quite frankly bores you’, Lawrence has it all and executes it with deceptive ease.

Engaging and mesmerising even on record, Lawrence has produced something that many artists fail to achieve — a song worth listening to from beginning to end, and then placed on repeat.

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This single, taken from London based Damn Vandals’ recently released début album Done For Desire, is a joy. It is two tracks of tasteful rock music writing. On first listen you will find that it sounds instantly classic, it reminds me of the epically sprawling American rock music of thirty years ago. But this time it isn’t good because you have heard it before, it is good because this time a band has written music that is instantly classic.

Its key stand out point is the vocals. Deep, raw and very distinctive they are rocky but without any hint of pretension. They sound like the gravelly vocals of a tormented soul and layered over the solid musical background and beautifully subtly written guitar melodies it is a pleasure to hear. Speaking of the guitar melodies soaring over the tracks, they are inspired. They aren’t trying to be flashy like so many other bands making this kind of music. The playing isn’t from your average virtuoso-wannabe, it’s not trying to hog all your attention, it’s there to add to the whole aura of the tracks. It adds the extra dimension that separates this band from the rest. The landscapes they paint are vast, flat and epic. Instantly romantic but deeply masculine at the same time. The only thing this reviewer would say is that I would like to hear more of the guitar, but what more can I say? The tracks reverberate with quality on every beat and they are well worth checking out for yourself.

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Following the warm reception that was given to their previous two singles, the groovy Slam the Door, and the brown sugar like Candy Snake, Mancunian blues — soul three piece Turrentine Jones come back with their latest single, Show Me Mercy.

This song has more of that lovely brand of laid back grooving and warm, droning organ. Tweedy guitar and soulful vocals are held together with subtle, then gloriously splashy percussion. What gives the song its stand out edge is the use of that Hammond organ providing rich tone and bass. The sound of it is just delightful, and there’s a real feel of integrity and tradition about the whole thing. These guys seem to have the knack of recording contemporary, genuine blues music and giving it a smoky warm edge and making it all seem as though it required minimal effort to complete. The track listens like a fine jacket, no frills to the eye, but you know it is of the finest quality. The track seems to grow and grow each time you listen to it, giving a little more with each repeat. Quality stuff.

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Ladies and Gentlemen, please welcome : Films of Colour. They are — Andy Clutterbuck on vocals and guitar, James Hatcher on guitar, Jack Allinson on bass and synths, and James Rees-Flynn on drums.

They are back with a new single called Capital & Persinette. Side A to the single is the warm and charming Capital, with its visions of holidaying in the sunny London. The Side B Persinette presents the listener with a darker and evil sound, filled with hysteric, depressive and spontaneous drama filled tempo changes. You can really see this in the official video for both songs.

Simon Williams, the Fierce Panda Records honcho, has confessed his love of these lads and described them as the best band he’d signed since Radiohead and Coldplay. There is a big “Coldplay” vibe in these tracks, with Films of Colour really producing some extra drive with their drums. The tracks are heavily laced with the sound of Indie Rock, it reminds me a lot of the ocean and a peaceful wide open space. It is like you are diving into the Pacific Ocean.

So hold your breath and jump in and enjoy the depth that Films of Colour create.

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The Low Suns are a five piece band whose influences range from Jeff Buckley, The Flaming Lips, 1940s Gospel and sci-fi soundtracks. Now, that may sound like quite a varied mix but the music they produce is something inspiring.

The Low Suns formed after band members and childhood friends Ali and James returned from L.A. Shortly after, unknown to them, they met their singer, folk musician Jack Berkley, in a pub in London. Expressing boredom for the folk scene in London, The Low Suns formed to push music to the max.

Never Gonna Care is their debut single recorded in their hand-made London studio. It’s an anthemic track full of electronics, heavy bass and eerily distant vocals. The chorus is especially passionate with the influence of gospel shining through making it one of the most interesting and exciting tracks I’ve heard in a long time. Never Gonna Care is a great example of their many talents to transform music which seems to involve a million different genres and roll it into one.

Combining rock, gospel and electronics, their debut single is definitely introducing a new sound into the music industry. At times, they do have some resemblance to Embrace with the pumping drums and bass blended with the explosive vocals. However, they do sound remarkably different through their use of the repetitive electronic underlying beats that keep the melody flowing in a cleverly subtle way.

Never Gonna Care is a song that’s bound to get your adrenaline pumping, particularly the bridge towards the end with the powerfully sung lyrics, ‘It won’t stop raining, won’t you stop this raining…’ The soft verses explode into a memorable chorus that will have you singing your heart out wherever you may be. The Low Suns are one not to be missed.

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Since Hiatus (Cyrus Shahrad) and Shura (Aleksandra Denton) teamed up as a musical duo they’ve gone from strength to strength: reviews are popping up on countless music sites and the video for their latest single was recently the most shared video on NME.com. Lucy Meek has had a listen to their latest EP – Fortune’s Fool – to see how things are sounding.

Track one – also titled Fortune’s Fool — is a moody dubstep number. Hiatus’ has used a glitchy guitar riff and tinkling beat to compliment Shura’s brooding, haunting vocals. The lyrics are very personal and heartfelt (and, interestingly, reminiscent of Des’ree’s song Kissing You), the rambling nature of her words creating the impression of a heartbroken teenager writing a love letter. Overall the song is likeable: it’s inoffensive and quite relaxing, and would be well-placed on a chillout playlist for background music when entertaining.

Having said that, it’s still missing a certain something to make it special. Anyone with the right software and a bit of spare time can make average-sounding dubstep these days. The accessibility is a positive thing — plenty of people are making quality music right out of their bedrooms – but it does mean that Soundcloud and the rest of the internet is saturated with slow, moody dubstep tracks, and this one doesn’t particularly stand out. It’s enjoyable to listen to, well made and certainly not a bad song, but a bit lacking in originality.

River, on the other hand, was quite a surprise. The second track is completely different to the first in style – Hiatus has done away with the clicky rhythm of Fortune’s Fool and instead opted for guitars and drums. The music is deep, complex and interesting, ebbing and flowing, and the multiple layers of sound work beautifully together. Where Fortune’s Fool was very vocals-heavy, River repeats the same sample of Shura’s lyrics over and over. Her voice is quirky and lends itself to being sampled – the vocals are what make the song. If you like laid back, trip-hoppy beats you’ll probably like this – think Zero 7 or Morcheeba.

Overall the EP is definitely worth a listen. Groundbreaking it isn’t, but if you’re looking for something relaxing to listen to on a Sunday afternoon it could be right up your street. Fortune’s Fool might be a little underwhelming, but River picks up the slack to make it a nice, well-rounded release for the duo. Watch this space…

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The young, British female artist Sophie Ellis-Bextor didn’t waste much time after releasing her 2011th album Make a Scene and released her EP Starlight in June. Starlight takes you straight back to the 80’s, it screams with all it musical style and glamour. The new track is very much a stylish 80’s tune with its electro vibe, funky bass and very familiar classic Sophie’s bitter-sweet vocals and this song has every chance to become a great pop-ballad not only for 80’s lovers but also modern vibe fans. So put on your best cocktail dress, ladies, and your best 80’s style disco suits, gentlemen, and blow up the dance floor!

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Oceans Ate Alaska are a firm favourite of New Beats Media and a band that time and time again, we have suggested you keep a close eye on. So when we were asked to review their latest track Taming Lions, how could we refuse?

The guys worked with producer Dan Lancaster of Glasseye Studios and this combination has definitely brought out the best in them. Previous tracks such as The Puppeteer and Reasons To Stare At The Sun were great in their own right but Taming Lions has taken the band to the next level.

From the first listen you can hear how everything is much tighter, the riffs are more complex and James Harrison’s clean vocals have really improved and strengthened, creating an overall more mature sound. Oceans Ate Alaska have stuck to their post-hardcore roots but this track has a larger proportion of clean vocals, which is guaranteed to even attract those just teetering on the post-hardcore border.

As James Harrison sings ‘they’re calling us out, singing so loud’ and with the catchy chorus and Senses Fail style breakdown, it would be impossible not to sing along. A brilliant track by a brilliant band and I can’t wait to hear it live!

Rating: 5/5
For fans of: Memphis May Fire, Bring Me The Horizon, Senses Fail

Taming Lions will be released on the 28th July and you can find the track, on Oceans Ate Alaska’s Official Facebook page .
The band will also be playing at the Actress and Bishop, Birmingham on 25th August.

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Bibelots have got a new single on offer called Pieces that seems tailor made for the summer festival circuit. The track opens with an electro loop before the guitars slice in with a certain degree of heaviness and Britrock abandon.

I always enjoy it when bibelots show their heavier side and Pieces manages to maintain a driving and consistently heavy groove with enough electro bits interspersed at appropriate points to keep things interesting, particularly the middle bridge part. It’s well mixed and all the parts work perfectly together as a whole. Neil Athey’s guitars keep to the rhythm spectrum and never dominate, Gaz Evans’ base steps out where it needs to and Ben Richardson’s vocals are flexible enough to go edgy around the heavier guitar parts and mellow when Bobby Harrison’s synths cast a more psychedelic mood into the mid section. As usual, Tim Fielding’s drum and bongo work shows faultless timing and a sense for filling exactly where required.

Bibelots songs often paint a story using conscious lyrics and imagery, and this time the ultimate femme fatale, Medusa herself makes an appearance in a modern tale with an East London twist. You don’t find this sort of stuff on the X Factor that’s for sure.

It’s hard to categorize Pieces into a specific genre. It’s both heavy and moody and I think it wants to be heard live really. Ultimately, you have nothing to lose giving this a try if you haven’t heard Bibelots before, and their core fans will surely approve of it. Personally I think it would sit next to No Other Way Out from their last EP very well in a live set but thats up to the boys to decide.

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The Stow

Having already put their own unique twist on famous songs from the likes of: Kanye West, Devlin, Tinie Tempah, Cheryl Cole and Adele — gaining a large underground following in the process, thanks to their presence on YouTube, The Stow are now preparing to explode to the forefront of the UK music scene with their self-penned single, Give A Damn.

The Stow is made up of five members: vocalists Haydn and Shi, drummer Gus, guitarist Matt and Dave on bass. Trying to define their musical genre is impossible as they fuse together hip-hop, indie, pop, soul and rock. Their style is so diverse that they have already been described as, “the bastard child of Pete Doherty and Jay-Z.”

Give A Damn is the first single to be released from The Covers EP. Give A Damn is a really inspiring and energetic track. I sense that the mantra The Stow will use throughout their career is summed up in the opening line, when Shi declares, “F**k what the others say, ‘cos we don’t really give a damn!” Is this The Stow’s way of introducing themselves to the critics by revealing that they will never change their ways, no matter how much criticism is levelled at them?

A really impressive aspect of the track is that it is undeniably British. Shi’s soulful vocals are not laced with a faux-American twang, this is particularly evident on the hook, “Baby, baby, come on!” Many promising British rappers have fallen by the wayside when they have tried to rap with an American accent; fortunately Haydn hasn’t fallen into that trap. Haydn’s flow is impressive and his raps are piercing and lively.

Give A Damn is a catchy, radio friendly track. I would not be surprised if the chorus was picked up by a savvy advertiser to use as the soundtrack to a television advertising campaign throughout the summer and into the autumn. Give A Damn is a great choice of song for The Stow to have chosen as they look to move their career forward and on to the next level. It is a track that could be dominating radio playlists and television ad-breaks for months to come.

The Covers EP which includes Give A Dam’ by The Stow is available for download here: Download The Covers EP — The Stow

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Manchester… It’s a place you can always seem to rely on to source that infallible, no-nonsense sound. Clearly, that belief is still well-maintained. Golden Glow is a project; the man behind it is one Pierre Hall, previously front-man of The Lead Balloons, a little band that saw a lot of renown in the confines of Manchester city. He terms his new LP dead lo-fi, currently a popular, nascent musical choice. In this case, the raw quality finely complements his modest indie sound. It’s that melodic 80s brilliance that is often rendered inimitable and can go so horribly wrong when attempting to be ‘revived’, but Tender Is The Night is a self-produced record demonstrating how it is done. It is a collection of Hall’s earlier demos and EPs to date, that his trusty initial listeners insisted should not be tampered with, but released as they are.

Although the album generally adheres to a blunt and easy vibe, there is an enthralling eeriness about several of the tracks with their cold, dour words you don’t adore me, I’m not afraid to be on my own and you left me at a loss. A sense of deep foreboding is created in The Blizzard by means of the heavy, clanging guitar-work and music. Streetlighter no doubt stands out of the crowd in its warm, romantic tone while All Time can be compared with a number of Pete Doherty’s contemplative, less-than-sober numbers. So if it is a good bit of romance you’re looking for, All Time and The Cure are the ones for you. If a drawback must be found, just slightly disappointing is the shortness in duration of each song. But all in all, Golden Glow does not appear to be reaching for the stars so here is a record we can take for face value and enjoy for its sheer simplicity.

Tender Is The Night is out now on Mush Records and Bleeding Gold Records

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Taken from his 2010 self-titled album, Pete Yorn releases the second single from his Frank Black produced sixth album. Packing more bite than lead single Precious Stone, Sans Fear shows Yorn in a rockier guise with traces of the Pixies front man’s influence distilled throughout.

Starting up with somewhat brooding guitar and drums, the song is built up by initially forlorn vocals that eventually cast off apprehensive tones and open up to reveal a greater sense of poise. But the song still maintains a sense of lament throughout with his voice echoing perfectly the lyrical sentiments that ‘I will never change you/I will only change my view’. Stripped back and soul-bearing, one leaves with the sense that Yorn is not admitting defeat or surrender, merely decrying the hurdles he has to overcome.

In style the single mirrors much of the hasty birth of the recording of Pete Yorn, reflecting much of it’s spontaneity and sense of resolve. Created in a whistle-stop recording session of 5 days, Black decreed to “get the session into a fearless and raw place”. This proves an enjoyable change of pace and a partial step away from his better known 2009 work with Scarlett Johansson and his beautifully engaging debut Musicforthemoringafter.

With the summer approaching, Sans Fear feels like it would be at home on a sunny day with a hint of cloud on the horizon.

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Now THIS is how you do it. River Song, the second single from upcoming hopefuls Burn the Fleet is hopefully going to send post hardcore forward. From analysing the current ‘talent’ in the genre I was calculating it was dead. Well I guess these guys had other ideas. Opening with a melodic hook that will be coming to a main stage festival near you the song holds back before letting rip with ‘riffage’ and rawness letting the lead guitar fill in the blanks. Conway balances his vocals to a precise degree moulding Dallas Green like soul with Daryl Palumbo like aggression, flirting with harmonies that give an extra something to the mix. Structurally it isn’t very conventional giving the song an edge and surprising tendency to veer off into ambience, which gives the song space to breathe.

I could name all the things I like about this song but quite frankly that would take a while so here’s some examples: the down-tempo chorus, the sing along sections that fans will sing their hearts out to and funeral for a friend ‘esque’ lead guitar that isn’t too ‘showoffy’ but displays the right amount of melody. You get the gist. A negative point would be that for a band that aren’t well known they may find things difficult finding new fans with a song that isn’t your traditional verse chorus malarkey. But hey that’s just nit picking it’s a great track and if you can look past the far-fetched structure you won’t regret it.

I expect the new video will be hitting an MTV2/scuzz /Kerrang chart a.s.a.p. This is the single that could send them high. If you like your riffs meaty and your rhythms bouncy then you’re in for a treat. Burn The Fleet are on fire.

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Sleeping With Sirens have been teasing fans for the past couple of days with a potential early release of a new single from their upcoming album Let’s Cheers To This, set for release on May 10th. The band asked fans on their official Facebook page ‘What they would do to hear a new song’ to which there were many, very different responses– let’s just say they certainly have a dedicated fan base! After a lot of talking, finally the band stuck to their guns and released Do It Now, Remember It Later.

A first observation is that this release is completely different to previous tracks from Sleeping With Sirens. The band appear to have moved in a poppier direction as there is noticeably less screamo and their typical heavier backing seems a little more tamed. This isn’t necessarily a bad thing though, clearly the band have taken time to develop, mature and really think about the sound they want instead of churning out something unoriginal just to keep everyone happy.

The track is fast paced with A Day To Remember style breakdowns – a recipe for a crowd mover. It brings something different to their set list, giving fans a chance to step out of the circle pits and have a dance instead. There is also a more clearly defined melody which seems to really compliment Kellin Quinn’s vocals, instead of him almost having to battle against the constant heavy riffs as found on most of the album With Ears To See And Eyes To Hear.

Do It Now, Remember It Later is sure to rake in new fans and really I hope that their new album Let’s Cheer To This brings Sleeping With Sirens the recognition they truly deserve.

4/5

For Fans Of: A Day To Remember, Of Mice & Men, Secret & Whisper

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Sparks The Rescue is one of the most unrecognised talents within the pop punk world, especially in the UK and it is extremely hard to see why. Their 2008 album Eyes To The Sun was packed full of tracks, all of which could easily compete with the likes of Paramore, All Time Low and Mayday Parade.

Finally, the band is back with their new single She’s A Bitch, And I’m A Fool and after Fearless Records teased fans by releasing a preview clip of the single, the anticipation was sky high. The song was then streamed in full on Absolute Punk.net and it has received positive comments after positive comment from fans.

Now, the track isn’t particularly different to the generic pop punk that is in the charts at the moment and sure some people will say their lyrics are cheesy but what Sparks The Rescue do, they do well. The band lures you in with their happy go lucky sound and before you know it, you are singing along. This track is incredibly addictive– you have been warned!

4/5

For Fans Of: Mayday Parade, You Me At Six, This Providence

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There’s nothing better on a beautiful sunny day like today then to have a track that reflects the wonderful weather. That’s precisely what Saskia Says’ new single Let Go does. The song opens with a flourish of summery instruments such as ukuleles and spacious piano chords whilst a swing drumbeat drives the track along, as Saskia’s sharp crisp vocals are brought in.

Many a comparison could be made to an artist such as Lily Allen but what separates this aside is the jazzier accompaniment that the backing band provides. There is a very bouncy uplifting feel from the music and it is a great example of a pop/jazz song. Harmonies shine in the chorus helping Saskia convey her message of letting go of what holds you back from love. A darker theme for what is a brighter, happier piece of music. However after the melodrama the audience is hit with a simple yet memorable guitar line that is dominant but allows for space, letting the piano fill in the gaps.

This is the kind of music made for beaches and picnics and is a brilliant sound track to anyone’s day to help shake off the April shower blues. Summer may not be here yet but already a contender for the summer anthem has surfaced. Saskia Says is a promising young star, whose simple yet catchy songs could propel her to stardom.

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After listening it’s clear that lyrically the song is politically themed. Musically it’s just pure aggression. This is a band that is angry at the current state of affairs and they’re not afraid to show it. The track opens with a simple groove that doesn’t play for long before James Kennedy’s vocals pour in. They sound raw but refined and his echoed notes about the current state of government filter in brilliantly. Before uttering ‘they’re all criminals now’ with a shimmering guitar line the groove kicks back out progressing to a powerful almost epic chorus that is simple but executed well.

There are definite similarities to the political rap rock group Rage Against The Machine but the longer drawn out phrases in the vocals give them their own edge. The bridge ups the pace for a mosh worthy riff that although not needed, shows how dynamic the band is prepared to be. After a final chorus they do a trademark Rage Against The Machine move and start a slow build up until a powerful onslaught brings the ending as James screams ‘I know my enemy, and he’s always with me’. Yes, this music has been done before, but at least it’s nice to see music representing society at the moment and quite frankly it’s James’ vocals that are the highpoint of this great example of a protest song.

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The song starts with a catchy riff before the drums come crashing in and some nimble bass playing, the vocals start and the song deals with a failing relationship, the singer Lucas telling the girl in question that no matter how shes treats him, he will never give up and she will be the one crawling back to him. Around the two minute mark,the song slows down before the guitars start up again and Lucas tells us that “I had to leave you”. The song finishes with some background ohhs and a refrain of “Are you feeling alone” The band remind of a mix between New Found Glory and You Me At Six. Overall a decent effort, catchy and hard to get out of your head after a few listens

The video which is playing on Lava And Scuzz is interspersed with shots of the band messing around with each other and a live performance of the band playing on a outdoor basketball court. The video matches the song very well in tempo and style, and the switches between scenes are not too often to make you lose track of the song. A good video that is tailored well to the energy of the song.

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