How’s everyone doing? We’re almost a third of the way through the year now and it’s about time to look at how things are shaping up and to give you some news about the direction we’re taking here at MusicRiot. Over the years we’ve evolved from reviewing everything that popped through the letterbox (and now it pops in to the inbox) to our current approach of only reviewing things that we really believe in and want you to hear (and there’s plenty of that to keep everyone busy at Riot Towers). And we don’t like negativity; you can get enough of that in the NME or letters/comments pages of the specialist music magazines and websites. So, if you think there aren’t many one or two star reviews, that’s the reason. There’s so much good music out there that we want to focus on, whatever the genre.
And we’re having a pretty good year so far. Of the 2017 predictions, Ags Connolly has released a very good and critically-acclaimed second album, Stone Foundation signed to 100 Per Cent records and charted nationally at 25 with their “Street Rituals” album, Sound Of The Sirens have their album “For All Our Sins” released at the end of May on DMF Records and they’re playing the Fields of Avalon stage at Glastonbury. Hannah Aldridge’s stunning second album “Gold Rush” is out on June 16, and Dean Owens has delayed the release of his latest album “Southern Wind” until (probably) early 2018 to focus on yet another side project named Redwood Mountain with traditional fiddle player Amy Geddes. Watch this space for more on that one.
As for MusicRiot, we’re going to launch a new review feature very soon called “Sound Bites”, where we take a brief look at albums and singles that are interesting and worth listening to but don’t quite get the full review treatment. No star ratings, no judgements, just a recommendation to give it a listen.
That’s about it for now. Keep your eyes, ears and mind open and check out our Facebook page to find out what we’re up to.
The last two years have been a bit of a whirlwind for Sound of The Sirens. Over that period, Abbe Martin and Hannah Wood have risen irresistibly out of the local and support slot circuit to playing major festivals and headlining their own tours. They’ve won many supporters along the way with their superbly-crafted songs, beautiful harmonies and exhilarating live performances. All that’s missing so far is the chance to convert that to national airplay. “For All Our Sins” should be the chance to put that right.
The opening of the first song, the lead track “Smokescreen” is a good indicator of the new approach with the addition of bass and drums and some Spanish style nylon-strung guitar and percussion giving the song an added dimension. It’s not so much a move away from their live sound as a subtle augmentation. The arrangement reminds me of the way Al Stewart was produced in the mid-seventies, an he’s still being played on commercial radio forty years later. Hannah and Abbe’s voices and instruments are still right up there in the mix, but the addition of some more daytime radio-friendly instruments and a few hooks have certainly worked. Jeremy Vine thinks so; he was at the album launch a couple of weeks ago and played the song on his Radio 2 show the following day. That’s a pretty impressive flash-to-bang time.
There are a couple of songs that have been reworked for the album, and it’s interesting to compare the originals with the new versions. Both “Together Alone” and “In This Time” have been smoothed out a little, with the vocals coming down a couple of notches to blend better with the other instruments, and some slight structural changes. Using a drummer has made the transitions between sections smoother, particularly when the tempo changes, and the production team has introduced some studio effects (some dub echo in “Together Alone”) and even created a psychedelic vibe with the ambient sounds, echo, and reverb of “The Circus”.
But all of the studio wizardry’s just window dressing if the raw material isn’t right. Abbe and Hannah’s songwriting is a huge part of their appeal. They write with a darkly poetic romanticism about subjects that are important; mental health in “The Voices”, the impermanence of relationships in “In This Time” and maybe even embittered journalists (amongst other things) in “Smokescreen”. They often explore the elemental side of human experience (“Chaos”) but there’s usually a message of empowerment in there as well. They care passionately about what they do.
With “For All Our Sins”, Sound of the Sirens have succeeded in creating studio versions of their powerful and dynamic songs for mainstream consumption without losing the creative fire in the process. The songs will be there on their upcoming tour and during the festival season in all their dynamic and noisy glory but, for now, this sounds like the next step up the ladder.
“For All Our Sins” is released on DMF on 26 May 2017.
Meanwhile, you can have a look at this: