Have you ever wanted to share your talents with the world and be on a record that you can buy in shops and stuff? Well thanks to Jonah Matranga, you can! The singer/songwriter (and Far frontman) wants you to help him make his new album, regardless of your musical talent (although some would probably be nice).

The album is set to be released on August 11th and all contributors will be credited in the album’s liner notes. Jonah is very big on interacting with fans and this is his latest, and largest, way of doing so. Of course, he doesn’t just want you to do anything. He’s provided everyone with the stuff to get them started and is keeping everyone informed with the record’s progress.

So if you want to work with an amazing, truly lovely person and be part of musical history get involved! It’s on a voluntary basis, but he’s promised if it makes millions of dollars all contributors will be taken care of. This is a really cool, fun experiment and I hope it goes really well. Ian and I are getting involved, that’s unlikely to sway anyone though.

Head over to here for more details.

This weeks musical cavaliers are, Manchester-based, Well Wisher.

I first heard of the band Well Wisher, working with vocalist Michael Cahill who, in his eternal drunken wisdom, once imparted on me a piece of advice I will take to the grave:

“People need to realise to early 90′s emo music was the best kind of music ever and just start listening to it again.”

Well Wisher’s greatest strength isn’t on record, (not that the recorded stuff isn’t wicked!) but during their live shows. They have such an incredible dynamic, you’d think watching Black Flag was a laid back gig. There is humour, great audience interaction and such raw energy in every members enthusiasm for the music they play, not to mention some D.I.Y stunts throughout the set.

Luckily, and the reason this has come out a little earlier than planned, WW are playing at the Oxford this Thursday 29/07/2010 along with half a dozen other awesome bands. No words I write could describe just how cool it is to watch this band play, you can only truly believe it first hand. With such great live sets and an upcoming E.P (which the band aim to have out by late August, if any band was gonna bring back a music scene that truly deserves reviving, Well Wisher are your men.

I give them 5/5 Special Brews, with bonus points for being so damn old school.

Details of Thursdays gig can be found via this link:

http://www.facebook.com/?ref=logo#!/event.php?eid=126357054069516&index=1

You can listen to Well Wisher via their Myspace which can be found at:

http://www.myspace.com/wellwisher10

Fake Problems, a super cool band from Florida, have got a new album coming out soon. Real Ghosts Caught On Tape is set to be released on September 21st, but there’s many of us that can’t wait to get our hands on anything that Chris Farren and co put out there. Being the nice guys that they are, they’ve released the track ‘Soulless’ free of charge.

If you need your Fake Problems fix, then head on over to their official website and download the song. Trust me, it’s awesome. The new album was produced by Ted Hutt, a man who’s previous works include Chuck Ragan’s Feast Or Famine and The Gaslight Anthem’s The 59 Sound and American Slang. If you’re a fan, you won’t be disappointed. The track is an upbeat punky tune, enthused with a little bit of a retro vibe. If you haven’t heard these guys before, then what the hell are you waiting for? Download it now!

For more, visit www.fakeproblems.com and be sure to check them out on MySpace.

On Wednesday 5th August, following the success of Proud Camden’s second birthday earlier this month, residents Bandangos host their own birthday party in the recently refurbished venue. Alongside essential ‘booze and birthday cake’ celebrations, the legendary promoters have secured an exclusive London gig from Hot Club de Paris and performances from the likes of The Chapman Family and guilty electro-pleasures Starman.

Headlining the birthday celebrations are Liverpudlian art-pink trio Hot Club de Paris. Notorious for their jangly, angular giutar sound, the Moshi Moshi prodigies are touring with a more refined sound found in their new 6 track EP “The Rise And Inevitable Fall Of The High School Suicide Cluster Band“. Having spent the past two years touring with the likes of Jamie T, Joan of Arc, Battles and The Who, the band will take to the stage at Proud for a rare London gig. This is the only chance fans will get to see the band perform their new material in the capital with a new found maturity, but still clutching tightly to the feel good signature sing-along choruses, hand claps, off-killer arrangements and three-part vocal harmonies that HCdP are best known for.

With a promising debut album currently in progress, the Chapman Family will also give an intimate performance for the Bandangos‘ party. Drawing strong comparison with Joy Division and Sonic Youth, the north-east’s best kept secret have stormed the gig scene in an aim to provide a distortion-fuelled antidote in a musical climate lacking in integrity. Having already been picked up by the NME radar and described as “dark and noisy”, this 4-piece is tipped for 2010 succession.

Best known for their appearance in SkyOne’s hit TV show Pineapple Dance Studios, Starman are a 5-piece pop group fronted by dance teacher and rising star Andrew Stone. Described as the electro lovechild of Alphabeat and Scissor Sisters, Starman have enjoyed success since appearing on the television and recording their first single, “I Don’t Wanna Dance“. Guaranteed to bring a smile to your face, Stone and his Starmen promise high energy and an epic stage performance.

Completing the night’s entertainment, The Bandangos due Adam and Matty and the Kids in the Riot with be DJing until the early hours; playing the best indie, alternative and electro sounds to keep the birthday spirit alive.

First on the agenda is a beautiful band called Above Them.

Above Them have been flying just below radar for sometime now, but since the release of their “now-nearly-a-year-old” album, Blueprint For A Better Time, the trio have been well and truly making a name for themselves in the punk scene playing with other greats such as Chillerton, The 255s and even the almighty Chuck Ragan.

The bands sound itself is a hard one to pin: It’s slick, smooth and melodic but at the same time featuring all the rawness of true punk rock or a chapped arse, but in a good way. Above Them have totally found their own sound. They’ve a uniqueness that is so relieving when compared to the many ‘might-as-well-be-tribute’ bands that occupy the punk scene.

As a live act the boys don’t hold back, with high energy, hard-hitting sets and some half decent banter to boot. Go and listen to the boys from Pontefract on Myspace, buy their album, go watch them live, whatever. Just make sure you sample the sweet sound that is Above Them. Oh, and buy a t-shirt, they’re smart as fuck.

I give Above Them 4/5 Special Brews, they lose a point because they’re from Yorkshire.

http://www.facebook.com/?ref=logo#!/event.php?eid=111334772244725&ref=ts

You can buy Blueprint For A Better Time on i-Tunes by clicking this link:

http://itunes.apple.com/uk/album/keep-smiling/id367479798?i=367479828&ign-mpt=uo%3D6

Lissie Maurus

With a refreshingly similar trend towards the great folk rockers of the Los Angeles underground movement in the 1960s comes the debut album Catching a Tiger by Lissie Maurus. Compared by many to the great Stevie Nicks of Fleetwood Mac and general notoriety fame, Lissie is taking huge leaps and bounds towards establishing herself as THE adult oriented rock scene’s up and coming artist.

Having grown up in the American Mid West, it is hard to believe that this soft voiced young girl with locks of spun gold and a demeanor that would put even a daffodil to shame for extroversion, is already holding her own amongst the ruff and tumble of the music industry. With a seemingly unfathomable innocence and very marketable naivety, Lissie Maurus describes her own music as part folk and country rock and part “Freeway rock”. The latter of these descriptions more than aptly encapsulates her debut album Catching a Tiger which delivers fourteen tracks worth of her soulful voice and expert backing from Seattle southern rockers Band of Horses.

Kicking off this AOR based album are the harmonic duo of “Record Collector” and “When I’m Alone” two tracks that immediately demonstrate Lissie’s imaginative and considerable lyric writing and imagery ability. With a sound that is very warm and friendly, Maurus’ vocals add a wonderful sense of depth and completion to what is a strong musical opening. Ben Bridwell and the rest of the Band of Horses begin with strong performances here “When I’m Alone” paying particular attention to their strong percussion ability, the result a haunting, up beat ballad that gets both the head bobbing and the mind thinking.

The album then stalls somewhat, not picking up again until the eighth track “Cuckoo” Here the pace takes a much needed injection, the true potential of Maurus’ so called “Freeway Rock” description really coming into its own. A nostalgic and positive look back at misspent youth with just a pinch of regret thrown in for good country measure, “Cuckoo” is a perfect embodiment of Lissie and Band of Horses potential to fulfill a large gap within the current musical market. Rather than be bogged down by the all too easily exploited morbid and unhappy memories that plague every creative genius, this song celebrates the defiance of youth and its petulance, delivering this message in an upbeat, subtly produced number that could very well and perhaps should be the independent, folk anthem of this summer.

The album closes with “This Much I Know”, a plodding ballad that is, admittedly, a little clichéd and predictable despite being once more wonderfully crafted and sincere in its own belief. In all Catching a Tiger is a strong and gutsy debut album from this excellent new talent. With a strong work ethic and growing notoriety of experimentation, a recent semi acoustic performance of Lady GaGa’s Bad Romance at numerous live appearances, has only credited and developed this young woman’s talent and exposure in a positive light. What lies ahead for Lissie and her backing band is potentially very encouraging.

However, the question of “Does the music industry need another blond, plaid shirted folk singer” is unfortunately a very relevant one. Although a brilliant debut, a certain lack of originality still underlies the work as a whole, a great pity considering Maurus’ talent. Only time will tell, as it so often does, whether this dove will fly, or be crushed by corporate blood letting.

Jonathan Whitelaw

The Black Keys - Brothers © Nonesuch

With a unique and groundbreaking approach to rock music, The Black Keys have been making a name for themselves since their formation in 2001. Now, with the release of their sixth studio album Brothers, the Ohio due of Dan Auerbach and Pat Carney team with notable producer Danger Mouse of Gnarls Barkley to deliver what could potentially be the climax of their musical and artistic opus.

Formed in Akron, Ohio, a city that notes Pretenders lead singer Chrissie Hynde and the smooth talking, moustached master Clark Gable, The Black Keys are predominantly a blues and indie rock band who take most of their inspiration from the likes of Jimi Hendrix and Led Zeppelin. From their formation in 2001 and with their breakout album Attack & Release in 2008, Auerbach and Carney have steadily readied a loyal fan base that includes prominent rockers Robert Plant and Billy Gibbons. The band have also found notable fame for a number of their songs appearing in various forms of the media, the video game GTA IV and numerous TV shows in the states sampling their work. In all, The Black Keys seem to have hit their stride and are not about to take their foot off of the pedal.

Continuing effectively where they left off in 2008, Brothers has been described by critics and the band alike as feeling the most natural sounding of the group’s albums to date. At a whopping fifteen tracks, sixteen if the vinyl is bought or the track is downloaded via the band’s website, there is certainly a lot of bang for your buck when it comes to material. Opening with the lumbering “Everlasting Light”, a more than Zeppelin esque that pays a great tribute to the old delta blues and sounds like it has been put through the rusty engine of an old Mid West tractor, the album continues this strong opening offering with “Next Girl” and “Tighten Up” the later being the album’s first single.

It is not until the fifth track of the album, however, with “She’s Long Gone” that the whole work as a piece of musical and artist ability really tarts to pick up pace. This track, with Auerbach’s guitar work bleeding through the amps and speakers like the ghost of a tormented old bluesman that the true ability of this duo is really put on show. Once again a very early seventies Zeppelin feel about the song, with its grainy production and whaling vocals, which of course can be no bad thing.  This feel and moping blues laments are continued with “Ten Cent Pistol” “I’m Not the One” and “Sinister Kid” all bring the ambiance and general tone and feel of the album alive, filling it and the listener with a heartfelt confidence and attachment to the band.

Rounding out the blues behemoth is the much slower, almost ballad like “These Days”. A wonderfully crafted slow number that perfectly compliments the rest of the album, Auerbach’s sleepy vocals coupled with his whining guitar and Carney’s downtrodden drumming make the listener feel like they are back on the bayou, a fishing line tied to your toe and a straw hat resting over your face to cover you from the sun. The imagery is evocative and intensely intoxicating, a tribute no less to the master craftsmen of the band.

In all Brothers is a very enjoyable and listenable album, one which is bound to be the band’s biggest hit to date and propel them into a much wider sitting audience, an accolade they most definitely deserve. Debuting with strong download and sales, the album debuting at number three in the states alone, Brothers is a fine introductory, if a little repetitive, example of The Black Keys work.

Jonathan Whitelaw

Run.From.Red are the latest in a string of cracking bands to come out of Glasgow.

I first heard this band many moons ago playing under the name The Usuals: they were okay back then. The lead singer Robert Woods had a sort of Kings of Leon lilt to his voice, there were some catchy guitar rhythms and a bit of melody that you could find yourself occasionally nodding your head along to but, to be honest, they weren’t going to set the world on fire.

I heard through the grapevine a few months ago that The Usuals had gained a few members as well as a name change and I didn’t really think much of it. Perhaps the grapevine should have been a bit more specific; not only did they gain a few members and a name change but a whole new attitude.

I listened to their debut single Jupiter Soulstar, released with Up Next Records, and it is fantastic. Run.From.Red are here and they are making some sweet, sweet sounding noise. The track is two and a half minutes of awesomeness that will make your ears bleed in the best way possible. Even better than just listening to the track, head on to Youtube and watch the video: you get all the benefits of Jupiter Soulstar as well as some acting and Glaswegian accents worthy of River City.

They may not have been world beaters as The Usuals but the new and much improved Run.From.Red are here and setting the music scene ablaze with radio coverage throughout the UK and America.

Run.From.Red – Jupiter Soulstar

MySpace | iTunes | Website

Just over a month ago I received an album dictating the future of British rock. It’s scratchy guitar refrains, sing-along chants and raw sound draw on the best of 50 years of British rock and punk. We’re talking The Kinks mixed with The Clash, Pistols with Verve, Oasis with The Rolling Stones. The album is called What Came From Fire, it’s by Sound of Guns, and it’s released on the 28th.

For big-sounding indie-rock anthems, nothing has come so refreshing since Whatever People Say I Am… The raw energy displayed throughout the What Came From Fire has justifiably earned Sound of Guns massive fans like Steve Lamacq and Zane Lowe. It’s quality cannot be underestimated: here’s a band that know exactly what they want to do and how they want to do it.

There aint much complex stuff going on here: it’s distorted riffs and power chords, simple bass licks and pounding drums pretty much throughout. Opening two tracks Architects and Alcatraz provide a strong back-bone for the rest of the album that grabs you by not by the ears but whole face and demands a listen. Their punky guitar just shouts out at you “turn me up”, which you obligingly do. Simply, if you’re stuck in traffic with this on, you’re gonna annoy alot of fuckin people.

The album was produced by Chris Potter (Verve, U2) and it shows a bit too much at times. 106 (Still The Words) slows the pace too much with prog-sounding synthy guitairs. Ballad-esque Starts With An End sounds like a History rip-off and, being the final track, taints the album and leaves a depressing and unfortunate after-taste. But, if there’s one thing both tracks shows it’s potential and confidence to explore.

Final verdict time then: for a debut album, Sound of Guns’ What Came From Fire is strong. Very strong. It’s raw, heartfelt, stadium rock. It’s as British as Wimbledon but with more balls (pun not intended). It’s lineage and influences are strong and it’s confidence is felt. Simply, this is a band you’re not going to be able to ignore for much longer.

http://www.myspace.com/soundofguns

Sound Of Guns – Alcatraz

Anathema - We're Here Because We're Here © KScope

Continuing on their departure from the doom and death metal scene they helped pioneer, Anathema deliver their eighth studio album, We’re Here Because We’re Here. Having started this transition to a much more melodic and progressive sounding rock with their 1996 album Eternity, the Liverpool outfit deliver a beautifully crafted, progressive work of art. No mean feat in an era that has recently seen a resurgence in the prog rock scene this past eighteen months.

Although mostly known to fans of their respective genres, Anathema is a predominantly popular and ever endured band recognised throughout the prog and metal scenes. Suffering from almost uncountable line up changes since their formation and commercial debut in 1991, the Liverpool based band is consistent and resilient if anything. The testament to the core members of the group’s dedication to their music and sound is the impressive back catalogue and discography that includes eight full studio albums, three EPs, eight single releases and three compilation albums all in the space of a nineteen year career.

The somewhat turbulent history of the band can possibly be excused due to the radically different approach to varying music genres they have attempted throughout their careers, from their initial doom metal origins to pioneering the now feverent death/doom metal scene and now as a predominantly progressive unit, musical tiffs and differences of opinion are merely casualties in a war of direction changes.

This varying style and ability to play just about anything within the confines of the metal and progressive rock sounding genres is never more present than in this latest release. We’re Here Because We’re Here opens with two atmospheric songs that immediately serve as an introduction into this brand new world that the band has sought to create. “Thin Air” and “Summer Night Horizon” are standard progressive rock sounding albums that long term listeners will have come to expect from the group. To new listeners however, these tracks not only serves as a prime introduction to the album but double as excellent stand alone tracks that can almost indepednantly encapsulate the sound that Anathema have been trying to peddle now for the better part of a decade.

As the album progresses further into its substantial ten track bulk, the initial atmosphere and self contained world that the opening tracks never truly fulfils its own potential. In retrospect, tracks such as “A Simple Mistake” and “Get off Get out” have much harder sounding, more melodic metal feels about them, the lingering electric guitars of Vincent and Daniel Cavanagh give the tracks a much harder bight to them. This sound, however, transposed into the album which really does serve as one long, progressive story and not individual tracks, makes the overall picture of the album seem a little clunky and perhaps laboured. The production and instrumentation however is flawless but overall the middle crescendo tracks feel poorly placed and forced.

Closing the album are two much more progressive sounding numbers that act as a perfect symmetry, a much more aptly and properly executed piece of art by the band. “Universal” has distinctly Pink Floyd feeling qualities about it, the looming vocals coupled with immaculate percussion and a stomping guitar solo that never comes directly to the fray but more acts like a tormented voice somewhere in the distance create the ambiance and feel that the album and band seem to have been aiming for all along. “Hindsight” continues in this same vein, the much more elevated and positive sounding a song to close out the album that has attempted to take the listener on a journey of joy, loss, love and life.

In all We’re Here Because We’re Here is an enjoyable album that will no doubt have fans scrambling for its download and cd the world over. For new listeners it can perhaps be misconstrued as an attempt at a pseudo, post post modern high art that may potentially distract them beyond purchase. In the current musical climate of progressive/alternative rock and its apparent renaissance with bands such as The Gaslight Anthem, Mark Sweeney and Eden all releasing new material in the past two months or so, the competition is fierce for Anathema. We’re Here Because We’re Here is an album certainly worth a listen if there is a familiarity and fandom for the scene and certainly of their work.

Jonathan Whitelaw