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Editor:Jordan Thomas

Email: jordan@brightonunsigned.co.uk

Photographer& Interview:Donna Clark

Design:Steven Probets

Writers:Cindy Cheng (CC)

Jessica O’Loughlin (JOL)Lauren Dyson (LD)

Zak Reeves (ZR)

© ALL VISUAL DESIGN AND ARTICLE CONTENT IS COPYRIGHTED BY BRIGHTON UNSIGNED MAGAZINE 2011 AND RESPECTIVE RIGHTS ARE OWNED

This MonthWelcome to the third issue! As usual, we’ve got more talented folks to whom you should be listening after reading this issue. Unfortunately, we will not be releasing an issue in January due to commitment issues over Christmas with developing our website - brightonunsigned.co.uk. In the meantime, follow us on Twitter - @Btonunsigned or find us on facebook! We will be returning with a fourth issue in February with Trip to Dover!

We are currently looking for more volunteers to get involved within the magazine to make it bigger and better. Be it to help out with distribution, review, photography, advertising etc., send me an email (jordan@brightonunsigned.co.uk) if you’re interested! In the meantime, have a flick through this issue and be sure to come to our next “Brighton Unsigned Presents” on 20th December!

GUY LLOYD’SBLOG

YOU CRY WOLF

EMBERHONEYFEAR OF MENTALES OF GEORGEEllEn and

thE Echo

ICE BLACk BIRDSHELIOPAUSELIVE LIkE kINGS

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The Green Door Store

LIVE REVIEWS

Live Like kings put on a lively performance at The Hydrant this month, showing off their raw, fast-paced rock sounds that transcend various sub-genres - making their sound hard to typecast. Lead vocalist, Adam O’Neill has a dry, raspy sound to his voice - angst fuelled and agonizing in tone - it is distinctive, yet somehow familiar in its distinction. Sounding sometimes like kurt Cobain in his punkier B-side tracks and sometimes like kings of Leon’s Anthony Followill in his earlier years. The other members of the band displayed musical diversity in the range of genres covered. The third song they played featured a dirty guitar solo that was grungy in nature whereas the guitar solos in other songs were more classic rock in style. The track ‘Heroine’ portrayed a more heavy rock/metal feel. ‘Harmony’ is their secret weapon tune with a very sing-a-long chorus. This was the last gig for their current drummer, which I’m sure is sad for them but could be an exciting opportunity to head-hunt an awesome new drummer to bring the band to the next level. O’Neill was shy between songs and the band seemed a little scared to move about on stage which in turn meant the crowd were uninspired to move around. However, it became obvious that they were well received by the generous round of applause.

The heliopause (according to Wikipedia) is the “theoretical boundary where the Sun’s solar wind is stopped by the interstellar medium; where the solar wind’s strength is no longer great enough to push back the stellar winds of the surrounding stars.” A Heliopause gig is what happens when the strength of the audience is no longer great enough to push back the stellar sounds of the surrounding speakers as the band engulf you in their musical production. You may well have heard the name Heliopause on the music circuit already as this is a band who are quickly gaining a name for themselves. Having already been talked about by BBC Northern Ireland among other reputable sources and still without a label, this group are clearly gaining popularity based on the merit of their music alone. They are therefore worth going to see - if only just to avoid paying thirty quid to see them a few years down the line. Heliopause fall into a category of music that has been growing in popularity in the last number of years - it is that kind of melodic, ambient, post-rock music that fits somewhere between shoegaze, nu-gaze and general star-gazing. Similar music is usually brought to you by the likes of Sigur Ros, God is an Astronaut and Mum. Heliopause’s music is so enjoyable to witness at a gig for its sheer ability to grab your soul and take you away to somewhere far away, beyond the outer stellar atmosphere in a kind of meditative trance - and then land you back in the room feeling calm, pensive and like you’ve just come back from some kind of hypnosis.

It can be hard to play a gig to a small crowd, especially when by small you mean four or five people. But this is what Tales of George did at the Green Door Store’s Oxjam takeover and in fairness to them they took it very much in their stride. They climbed on stage with their funky, colourful shirts and their cheeky boyish attitudes and rocked their skinny jeans off. If you like your music loud then you are guaranteed to like these guys. They mix old fashioned British punk sounds with heavier distorted rocky/grungy sounds to create what might might happen if Nirvana and Oasis had a baby - and that baby was brought up by The Ramones and then married the Arctic Monkeys. All their tracks were up-beat numbers from which you could literally feel the vibrations through your seat. After a few songs the place started filling up slightly (these people obviously having heard their raucous sounds from the street) and the new gang of spectators danced wildly around the room for the rest of the gig. It is my opinion that every band has a secret weapon,

Live Like kingsgenre: Funk / indie Rock / Rap

www.facebook.com/Livelikekingsuk

HeLiopausegenre: Funk / indie Rock / Rap

@ THe HYDRanT

@ THe HYDRanT

TaLes oF geoRgegenre: punk / Rock

a winning tune that everyone gets into even if they don’t particularly dig the band. Tales of George have one of these and they played it at the end of the set, a little number called ‘Pinch a Penny’ that everyone seemed to rock out to – good music to destroy a room to.

www.heliopause.co.uk

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It started out to be a fairly average night of “samey” musicians playing tame, comfortable sets more as background music rather than captivating performances. The so very “right-now” sounds of plucky guitar riffs and whining Devendra Banhart type vocals were drowned out by a combination of crowd chatter and upstairs metal bands (who sounded like they were about to come through the roof at any minute). This was the pace of the night until all eight members of Ellen and the Echo stepped on stage. Dressed in a combination of suits, black dresses and trilby hats, the band had all the glitz and glimmer of a jazz band, but there was something more to them. Their upbeat and lively musical style transcended genres from swing and jazz to funk and ska with even some rocky sounds thrown in. The vocal sound of Ellen Cosgrove could be compared to Florence Welsh but with a slightly more edgy, RnB tone to them. Her vocals were backed up nicely by two elegant ladies who swayed rhythmically

from side to side like two thirds of the Supremes.

The combined sound of the two guitars, bass, drums, trumpet and vocals finally drowned out the racket from upstairs as Cosgrove confidently took command of the stage and captivated the crowd with her charm and swagger. The band even managed to get the crowd up dancing by the end of the gig. Ellen and the Echo are professional and entertaining and put on a good show both visually and aurally.

LIVE REVIEWS JESSIca O’LOughLIn

www.ellenandtheecho.co.ukeLL

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.. DOLL AND THE KICKS

I was sad to hear that one of Brighton’s finest bands, Doll and the Kicks, had split up recently. A band that slogged their guts out to get signed but finally called it a day to pursue other projects. That’s the short story and it’s a familiar one for so many up and coming bands in this country but it was so much more than that. I first came across DATK at one of those god-awful ‘Battle of the Bands’ at the Walkabouts in Brighton, probably about six years ago now. I was hosting and they were competing. I noticed the singer as soon as I got there to prepare. Striking and unconventionally beautiful (that’s meant as a compliment Hannah, if you’re reading this), she stood out amongst the normal ‘clientele’ of a West Street bar. At that point she was hanging out with her mates looking cool (unusual in the Walkabouts) and then she got up and sang. All I remember at that point, was the whole pub stopping talking, looking up too see THAT girl and hear THAT voice. It was a memorable moment and I knew there and then that the band was going to go to bigger and better things. (Let’s face it, after the Walkabouts, the only way is up).

They slogged it out in Brighton for a while, cementing their place in the local scene whilst picking up a decent following. They then started spreading their wings and touring up and down the country and more importantly playing London. It was here that Morrissey, no less, popped in on a recommendation and like everybody else that stumbled across the band, saw the potential and invited them to tour with him across Europe and the UK.

Doll and the Kicks; quite leggy.

It was make or break for the band at that point and although they met all the right people and their fan base grew to a point where they could consider selling records, that elusive record deal remained just that. They continued a little while longer, getting national airplay and all the right endorsements but it wasn’t to be.

I’m proud to say I was the first person to play

them on the radio and I enjoyed a many a long night hanging out with them and supporting them on their seemingly unstoppable rise. I knew it was going to be tough but there’s only so much a band can do, before they throw in the towel and they’ve obviously made the decision that that time is now.

In an age where Jedward can be considered a ‘pop act,’ it’s a tragedy that bands like DATK and so many more up and down the country will never have the exposure and the platform to really showcase what British music is in this country.

They’ll go on and do great things, whatever they decide to do but for now, thanks for the memories DATK, you really were quite special.

caTcH guY’s bLog aT: http://guylloyd.co.uk

TwiTTeR: http://twitter.com/guy_lloyd

www.facebook.com/dollandthekicks

GUY LLOYD..

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BUABS2011

When I refer to “freedom chicken” I am not talking political poultry so much as musical melodies. Marcus Stefanelli is one man and his guitar act, who resides musically in YouTube’s vast talent-filled landscape. His acoustic stylings include a series of original and covered songs. A slightly satirical style coupled with a raw sound gives Marcus the wings to fly in a slightly different direction to the plethora of acoustic artists on YouTube. Feeder, a song described as a tale of “love and insecurity, food and immobility”, takes us on a journey where everyone is over eating and over feeding partners, husbands and wives to stop them leaving. This amusingly insightful song really highlights the slightly satirical slant of Marcus’ style. His slight comical wit and real musical talent is what gives Freedom Chicken the distinguishable features to differentiate himself from the crowd. His track Plenty Little Fishes, which takes inspirationfrom “The Game” by Neil Strauss, is a story of the trials and tribulations of the proverbial bachelor. This song shows off his catchy and rhythmically intuitive style and presents him as a thoroughly likable artist. So if you happen to be searching along the cobbled streets of YouTube’s cityscape, stop and admire the various talents of the eccentrically

named YouTube channel, Freedom Chicken. ZR

MaRcus sTeFaneLLi

Genre: Acoustic / Solo

MuSIc REVIEWS

www.youtube.com/user/FreedomChicken

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Recording & Production in a Studio EnvironmentGet the most out of what you’ve paid for…

Over the next two months, AudioBeach Studios will be guiding youthrough what you can do as a band to get the most for the timeyou have booked and paid for to record your music. There any manypitfalls and hurdles along the way when being in a band; recordingshould not be one of them and we will endeavour to help you makesure you are fully prepared for your recording sessions.

AudioBeach Studios was set up in 2010 by Forbes Coleman & Jez Larder, who have 30+ years of recording and industry experience between them. The studio itself was opened with help from the Big Lottery Fund and as part of that commitment, AudioBeach Studios is dedicated to helping unsigned talent from all walks of life. We offer professional, high quality recording facilities at a fraction of the price you would pay elsewhere - and with much better results.

Research your recording studio. Make sure they’re right for you. If you’re a hardcore band, the last place you want to record is a studio specialising in indie pop and vice versa. Most studios will tell you they’re “versatile” and “can record anything”, but every engineer has his strengths and weaknesses. Ask for a recent client list and some audio samples - most studios should have this readily available, but don’t be disappointed if you get sent a link to a SoundCloud page. This is the digital age!

Visit the studios you’ve found. If they care about your sound - and their business - they will be happy to meet you briefly out-of-hours for you to see the facilities, meet the engineer and listen to some examples. The engineer should be asking you questions as well as you asking them questions. You should be clear on what you want from the session; the engineer should be able to tell you whether your plans are realistic and offer advice on how to achieve the best results.

Be realistic - your live set may take 25 minutes to play 6 songs, but this is not going to happen in a studio situation. A mistake played live is forgotten within a second. A mistake in the studio is recorded forever.

If you want a rough demo, 3 tracks in a day is achievable but don’t expect album-quality. If you can afford it, 1 track per day will give you a very high quality releasable EP track. If you’re pushing the boat out, 1 track over two days is your ideal situation for some extremely high quality EP tracks. Ideally? You want a day per instrument per track and two for mixing and editing… But that’s for when you’re going for professional, album-quality recording.

Be clear on the tracks you want to record. A month before recording, rehearse only these tracks each week, avoid unnecessary gigs & behave! What will let you down more than anything in a studio situation is silly mistakes and once you’ve done the 4th or 5th take of one track, frustration sets in and you get stuck in a rut. But if you get in the studio and fly through 3 perfect takes, you will be on a high, the creative juices will flow and your engineer will have more time to mix you an amazing track - everybody’s happy, everybody wins!

Make sure you’re all clear on the structure of the song and any last minute changes.

Restring guitars and break the strings in; you do not want your guitar going out of tune every 4 bars. For basses, this depends on your sound. Bright bass strings can sometimes ruin a recording. You can buy “used” strings from loads of places and they’re professionally “aged” for a warmer sound.

Re-skin your snare (and toms if you’re not using the studio kit), polish your cymbals, buy new sticks, bring some Moongel (or other dampening products) and tune up. Recording an epic drum sound is half the battle.

For vocalists, drink some warm lemon & honey (with a few drops of brandy or whisky if you drink) before bed. Avoid anything dairy-based during the 24 hours before as this can cause an excess of phlegm.

Get an early night, eat a good breakfast, bring a good lunch & don’t forget to buy your engineer a beer…

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You may remember MyElement’s review in BrightonUnsigned’s first issue and their performance at the Launch Night - they were invited back to be this months feature band, of course! In return, we were invited to join MyElement in their studio for a rehearsal session - and a brilliant session it was! They belted out their tunes along with some entertaining improv. With the photographs taken by Donna in the studio, we settled down to find out more about who MyElement is.

up with MyElement. Legal matters…Dan: You think that the natural progression would be to go from Element to something like MyElement but we went to The Bright Blinding Blue, naturally of course. Then, from that, after 2 years or something our old manager didn’t really like the name and after a while was like, “you need to change it”, we were like “ok… MyElement” and that was it wasn’t it?James: It didn’t really help either that we were doing radio shows (laughing) and you’d go on there and the DJ’s would try and say ‘The Bright Blinding Blue’ but they could never do it! It got a little embarrassing, not just for them but for us as well. You can’t really have a band name that no one can say.Dan: (laughs) bright blue guys… blue bright…blinding blue light…awful!

How did you guys get together as a band?

Harry: We became a fully-fledged band back in 2006. I’d known Martin for years, we went to school together and often met up to jam on our guitars and write the odd song. I met the rest of the band when I went to college to study Music Production. I’d been set a project to record an album of material and both James and Dan, who were studying the same course, agreed to perform bass guitar and keys on the tracks for me. Ian, who at the time was a friend of a friend, was drafted in to play drums and all of a sudden we had a full line-up. We all really enjoyed recording the songs and decided to give it a go as a band. We booked up some rehearsal time at a local studio and away we went.

Tell us about the development you’ve had from the first EP up to the most recent.

Dan: Well… I suppose we were more downbeat at first. We were listening to, I suppose, a lot of

earlier Coldplay, the slower stuff. A lot of ballady bits going on, a bit more dreary perhaps. We came up with a couple of up beat tracks that we really liked playing as a band, then when we gigged them they got a really good response. So we were like “hmmm that was fun, let’s write more stuff like that” and

we started to kind of uplift it a bit. Once every 3 or 4 songs we still go back to writing our ballads but we have got a lot more upbeat material now. Probably because of playing it live and the kind of feeling that playing upbeat stuff gives you and the crowd at a live gig. James: Part of it I think is we were a little bit worried about becoming very samey and worried also about bringing all our musical influences into our sound. I mean if you heard what we all listen to it’s all very different, each one of us listens to different things and not really necessarily exactly like the stuff we play. Originally we wanted to sort of stick with the safe sound, you know, downbeat as you say. As we’ve grown as a band we’ve brought our influences in, sort of incorporated it and built our sound up from there making it a bit more epic.

How did you go about making the video Place for the Mended?

James: A friend of mine Michael J Berwick did Film Studies at uni and he’s very, very good. He got in touch and said “do you want to do music videos?” because he does wedding videos normally. He wanted to make music videos - sort of make it a bit more interesting for him I suppose. We saw some of his trailers for films that he’d done, absolutely amazing and yeah, we just said go for it. So he wrote the idea, the whole thing, took us out on a very cold morning out in Eastbourne and said stand on that plinth thing… what is it?Dan: It was like an outdoor theatre, like a mini

Interview: Donna Clark

Whose idea was it to convert the garage [their studio] and to whom does it belong?

Ian: That’s me, I basically moved into this place and there was a derelict garage in the back garden. My Dad owns the property and so I just decided to convert it, make it bigger and turn it into a music studio. We were paying a fortune in our original studio and the equipment wasn’t very good so I just decided to build something for us, just for us. It took about a year but it turned out really good.

What sound would you describe yourself as?

Harry: We have us an Indie sound, we want a bit of an epic sound as well. Like bands like Coldplay and Snow Patrol.

Would this be a good time to ask about your influences?

Ian: 30 Seconds to MarsDan: Justin Bieber. <Everyone laughs>Harry: Anyone else got a band they would like to compare us to? James: Its one of those things - we’ve been compared to so many different bands from different genres. Everyone who hears us kind of hears something else, hears something different in us. I think its kind of one of the things we’re quite proud of - the fact that you can’t really pinpoint us, as such. Hmm, we’re quite broad with our sound so anyone really can listen to it and enjoy it.

Where does your band name come from?

James: When we first started we were called Element and we were on Myspace. After about a month of being on there our account was cancelled because another band claimed that they were called Element first, an unsigned band. They had no friends, no hits and no music on there but they must have written to Myspace so we had to change our name. Then we went through a few different phases of being called different things but no one could ever remember and we eventually came back round to Element and decided to sort of work on it so that’s when we came

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amphitheatre where they have music productions in the summer. It was painful because in the video it looks really sunny, it looks like a summer’s day but it was Baltic! We had to play it about 50,60 times all with really hard nipples and tiny wotsits.James: We started first thing in the morning and didn’t finish until the sun started to go down. It was a really long day, really hard work but it’s so worth it. It’s such a good thing for us to have and actually as an unsigned band its got so much more exposure and so many more hits and things like that, its an absolutely brilliant thing for us.Dan: We’re doing another one with him soon, as well.

How do you remember your ideas?

Ian: Lots of our ideas we come up with in the studio. In order for us not to forget what we come up with I have a microphone, which I’ve set up right in the middle of the studio and record the whole practice session so we can track back to the time and pick up all of our ideas and stuff like that. Obviously we bring things individually that we’ve thought of and prepared beforehand to bring to practice to save some time. You know if we’ve got an idea like at work or something like that or if we’re just sort of out and about…Dan: Toilet…James: LaughsDan: Do a lot of quality thinking in there, a lot of quality writing and production comes from the bathroom.James: Dan will come in with his phone, “I’ve got a great new idea listen to this…” and he presses play on his phone, ‘Duh, duh, duh, duh, doo, doo, doo, doo’ - makes no sense to us at all. Then he’ll play it and you go, “actually you know what, that nonsense on your phone is really good”.Dan: Yeh somehow manage to interpret nonsense into something that makes sense.James: He used to phone his old house phone and record on his answering machine. Then your Dad would pick up wouldn’t he? He’d be like, “don’t pick up Dad you’ve got to leave it to go to answerphone cos I’ve got an idea” so he’d ring up and record again.Dan: Then he’d pick up again… so annoying, “Dad I just said to you don’t pick up the phone I need to record a song idea on the answerphone!”

I have to mention Movember for those in the photos who don’t usually have the famous moustache. So what made you guys decide to go ahead and get involved?

Dan: We’re just really into saving prostates and testicles. So that’s what its about - protecting prostates and testicles from cancer. We’re completely in favour of that.Ian: Sure. I agree with all of the above.

So moving on what venues are you playing next?

Martin: Next gig we have is the Brighton Unsigned gig on the 20th December of course, which will be very good. Then we’re playing Saturday 14th January at the Concorde 2, which we all can’t wait for as it’s going to be amazing. It’s a headlining show to launch the new EP coming out that day.Harry: We’d just like to add… anyone that comes along for the gig at the Concorde on the 14th will get a code to download our new EP for free. D

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MyElement will be headlining the next Brighton Unsigned Presents on 20th December. More information on the back of this magazine.

www.myelementmusic.co.uk

MuSIc REVIEWS

These days being in a band seems to be the norm - and with the rock genre being especially crowded it can be a struggle for the eardrums finally to hear something that doesn’t just blend into the band before in a dull, generic musical-mush.

Ice Black Birds presents a Rolling Stones, ‘Get Off My Cloud’ vibe on ‘22.22’ and ‘Doors’ is littered with a Beatles influence with a little twist, coming from a slightly strange high-pitched Axel Rose/Kiss vocal at-tempt thrown in, nodding to glam rock. So there’s a very classic rock n’ roll sense about this band, which is perhaps what sets them apart. They’ve observed and learned from the greats, giving their sound authenticity - and considering these bands have become leg-endary, it’s a decent place to look.

‘S.S.W’ is an exciting track. It starts with a beginning like the brilliant Los Campesinos ‘You! Me! Dancing!’ whose intro was made famous by the recent Budweiser TV advert. The backing vocal compliments the main in a The Mighty Boosh ‘crimping’esque style, before exploding into harmonies with a kind of marching drum break down in the middle.Instrumentally and vocally, it’s a dynamic and energetic song.

I picture trendy paisley-shirted crowds at-tending the Ice Black Birds’ gigs, posters of them hanging beside retro Polaroids of their fan girls’ bedrooms and Chelsea-booted men tapping away to the music by an attractive pub fireplace or whilst cruising along in a rusty angular car. Old and nostalgic. They’re a band for anyone who appreciates rock n’roll, tuned in with a touch of the modern.CC

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Genre: Alternative

The name ‘You Cry Wolf’ draws reference to the familiar folklore told during childhood, and gives off a warm feeling of youthfulness – and the dares and adventures a ‘wolfpack’ of Boy Scouts may have experienced.

It also instantly leads to comparisons with the numerous pop-punk bands out there such as You Me At Six, We The Kings and Death Cab For Cutie. Fortunately, the band lives up to these induced expectations and they have delivered songs that could potentially enable them to gain huge popularity within this already well-liked genre. Their EP ‘Mosaics #1’ fires up with the aptly named ‘Starting’ and reminds me of The Academy Is… sprinkled with flecks of Two Door Cinema Club in the chorus. Punchy and upbeat, it establishes itself as the dance floor number, while the angry and more haunting ‘Attempt #7’ displays the throaty voice of Owain Arthur.

‘Venetian Chrome’ is brilliant and clever, deceiving listeners with the gentle and docile ‘You’re worth the wait’ before finishing with a chorus of the slightly bitter, cheeky and optimistic ‘Better luck next year’. This memorable and emotionally delivered track racked up the most plays out of the three offerings for me. You Cry Wolf’s music is likeable, expressive and catchy and even better, their EPs can be purchased online in a rather cool fashion by naming your own price.

So contrary to popular belief, while ‘Crying wolf’ may be a bad thing with dire consequences to follow, in this particular case; a hoard of screaming fans will no doubt be welcomed and celebrated instead.CC

www.facebook.com/YouCryWolf

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MuSIc REVIEWS

I have decided to put this E.P., named ‘Smokey’, on my Ipod so I can try and get the feel of this music when being plunged into day to day life. It’s strange and atmospheric, ghostly, almost scary and honestly makes me feel pleasantly uncomfortable while listening to it. Honestly, my knowledge on gothic atmospheric cabaret is not too shabby but I don’t think many people are in the know about it because it is so original. Thismay be an acquired taste for some and could inhibit the success of this genre, but if you give it a go it’s certainly an essential musical experience. The first track on the E.P. ‘Smoke’ begins with a creepy bass and guitar that for me paints the picture of a wild west shoot off in a ghost town. It’s strange how music can create this image in my mind. The second track ‘Crimes against your vanity’ is equally as dark and the vocalist’s velvety voice accompanied with husky electric guitar floats up and down my spine giving me goosebumps. Thirdly, the final track really shows of the pianist’s talent - the piano and vocals go together beautifully. You definitely have to be in the mood for this kind of music, otherwise it will not suit your environment. This is not the kind of music I could listen to everyday, but I would love to see this band live just to discover if they are as ghostly in physical presence as they are virtually. LD

eMbeRHoneY

Genre: Alternative / Fuzz / Indie

FeaR oF MenRITUAL CONFESSION/SPIRIT HOUSE

This band firstly gained my appreciation when I realized there were two female members, not just a female front woman and a female bassist. I don’t mean to sound feminist but they are definitely a rarity. My second thought was that this band are a female fronted version of The Shins, but I’m not shrugging them off and saying they have no originality - this band are fresh and unique. Obviously the hint of The Shins is a positive and they reel in hints of vintage unprocessed authentic sounds that seem not to be around so much in this age of autotune and processed drum samples. The more I listen to their single ‘Ritual Confession’ the more I want to sit and mellow out to the floaty vocals and tinny bass that reminds me of one of my favourite alternative surf rock bands The Pixies. The vocals are occasionally discordant but this is in my opinion a good thing - it gives the band a raw live garage band feel and somehow the production of the music is professional and successful.

The track ‘Spirit House’ is almost spooky, the echoes of the backing vocals make me shiver. Its kind of odd all the instruments are doing such different busy things but they all go together so well. These musicians are obviously talented and know exactly what they’re doing and although they are artistically experimental they know what sounds good together. LD

www.facebook.com/fearofmen

Genre: Alternative / Gothic

www.facebook.com/Emberhoney

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