All posts by stoppedintrax

Maddie Jones – Mr Walrus EP [Released Today – 30th September 2013]

The Walrus has landed, or perhaps beached…?  Beached does imply a halt in momentum however; picture this particular Walrus pitching up on an iceberg greased with twelve layers of hotel lobby floor wax.  There is nothing but lightening-speed potential in this latest offering from the brilliant Maddie Jones.

Released today, the “Mr Walrus” EP is a six-track collection born of startlingly authentic lyrics and unique musical choreography.  It features a number of Jones’ signature songs with the addition of one or two others I hadn’t yet heard.  I must admit, I’ve developed a real affection for this remarkable artist.  She is naturally endearing, but without trace of passivity, and Mr Walrus is the perfect showcase of both the charm and the assertion intrinsic to her resolute individuality.

Maddie Jones-Me, Myself and I (Track 01)

There is no other song that could have possibly introduced Jones’ as a creative-being on the face of her EP alone.  “Me, Myself and I” is intelligent, frank and deliciously sharp.  Standing at only 1:45 minutes it’s the shortest song of the 6 but packs a hefty whack entirely worthy of pole position.  It’s a scathing assault on the self-involved and the opportunistic, with stop-your-sh*t lyrics and squawks of frustration that still have me laughing at my thousandth listen.

Maddie Jones continues to use sound in a very innovative way and this playful diversity is reflected right down to the arrangement of tracks on the EP; up-tempo sass is routinely alternated with a softer, more intimate feel.  As a whole, the theme of the collection strikes me as a promotion of self-confidence and empowerment.  Whether she’s warning you not to push your luck or reassuring you that your perseverance will pay off it does feel as though Jones’ is giving you a kick in the seat of respective force.  The only discernible break in this premise comes in the form of Track 04 of the EP, “Illusion”.  With lyrics relaying the vulnerability of allowing someone access to your true self and in return seeking access to their own, this track shows a delicate and introspective quality that further highlights Jones’ ability to keep her audience alert and guessing.

I had every intention of viewing Maddie Jones’ latest release with an unaffected and unbiased eye, unfortunately, when you attempt this with the sort of artist that captivates upon first impact it becomes an almost impossible task, one which I’ll readily admit to failing miserably.  Luckily the Mr Walrus EP is everything I knew it would be and certainly a little bit more.  I’m hugely grateful it slid by Stopped in Trax before it speeds off onto the big ‘bergs.

Click here to get your hands on the Walrus

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Big Lion and The Filthy Old Orchestra – An Introduction to Death Rumba EP

Death Rumba… have you encountered this?

It’s not a dangerous subset of dance with steel-toed shoes and spiked castanets, although abstract interpretation could define it as such, death rumba is actually a genre born of a manic concoction of Latin-infused trumpetry and Punk-like abandon.  Big Lion and The Filthy Old Orchestra’s EP, “An Introduction to Death Rumba”, is a window into a world where scantily-gowned dancers smile as they cucaracha you hard upside the head.  You should also watch out for the Russian Barynya knees thrown in there for good measure.

I have listened to this collection of tracks incessantly for a while now and I still don’t feel qualified to offer a definition shorter than a paragraph.  It’s unlike anything I have ever heard – it’s eccentric musical genius.  The EP itself is exceedingly aptly titled; the first track holds your hand for the first minute or so with a familiar simplistic Latin rhythm but you are soon unwittingly sacrificed to gravelly punk vocals and an instrumental that thinks it’s much cooler than you… and probably is.  Finally you emerge from the close of Petryorshka reeling but subconsciously reaching for the repeat button.  Don’t be frightened, go around again!  I was brave myself and now opener, “Death Rumba” is my jam.

If you’re feeling a niggle of familiarity in the back of your mind that you can’t quite isolate let me attempt to appease you.  The Big Lion is in fact James Stevenson of Red Crow and his ensemble of dirty musicians is a mix of his band-mates and a number of other talented artists.  When he approached me with his solo material, I was sold before pressing play, however I had no idea that what had landed in the STX submissions would be so… incomparable to anything.  The diverse array of sound achieved by this community of artists is frankly ground-breaking.  It is a baffling level of musical accomplishment and I for one am entirely unprepared for whatever’s next to be unleashed from their armoury.  Everybody duck!

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A few weeks ago I took up running.  I’m naturally of rake-like dimensions but figured that had been my excuse for being lazy long enough.  The first week was great, I was overtaking leaves at lightening speed and enjoying the toots of passing van-drivers as they commended me on my dedication and personality.  Soon into my now all-star track career, disaster struck.  I wasn’t run over, nor did I have a catastrophic collision with another runner causing us to both to take to the air then greet the road in spectacular fashion and share a lingering look before deciding we hated each other only to end up married after a series of comical chance encounters and an awkward situation involving a fish-tank… No.  My foot hurt.  It turns out that hi-tops, although fashionable, simply do not provide the support required of an ‘achilles tendon’; a rookie mistake induced by a post-university penny-shortage and a blatant ignorance to nursery level chiropody.  Needless to say my rivalry with Mo Farah met an untimely end.

The moral of this Andersen-esque fable is that success depends on the right resources, the right preparation and effective timing.  had I been aware that there are different shoes for different occasions outside of the basic pub/work/taking the bin out/nightclub framework I had been operating on I could have been the next Paula Radcliffe.  Had I waited until I could afford some actual running shoes I would not have been burdened with a poorly-oiled robot leg for 3 weeks.  If you’re already impressed by my ability to turn a cry for sympathy into a credible music-related analogy, prepare to gasp a little louder!

IYES.  They have all the right resources; their music is delightfully unique and clearly the product of a carefully prepared mix of talents.  The only injury to their immense stardom I can discern is timing, not the band’s own as no improvement can be made on ‘right now’, but rather the industry’s timing in donning their ably-sighted sneakers and immediately running IYES up the charts.

[That absolutely worked.]


As a huge fan of The XX I immediately fell in love with IYES, the two using a similar construct of contrasting vocals and electro-riff instrumentals.  Together Josh Christopher and Melis Soyaslanova have created a very current sound with such diverse potential.  Their music has an inherently chameleon appeal, approachable for the pop market but also relevant to less mainstream genres like chillstep and house.  The duality of the pair’s vocals afford the Brighton-based duo an impressive depth and range to their musical arsenal.  Soyaslanova’s light airy quality is effortlessly grounded by Christopher’s confident projection and the two meet in the middle with a breathy inflection embodying all it means to be creatively compatibile.  The delicate track introductions are especially enjoyable where Soyaslanova’s halcyon tones dance over a just a small pinch of synth and some expertly harmonic backing vocals from Christopher.

The natural vocal talent of the two artists is unavoidable, however their music also exhibits a high level of ingenuity and skill in their approach to its actual composition.  Instrumentals are kept largely simple and riff-based but this can be attributed to very smart attention to song progression and is used to create numerous moods and textures in each individual track.  IYES use their electronic scores masterfully to encourage either contemplation or cavorting from the repetition of a few carefully selected notes.  Their Lighthouse demo is a great example of how keeping tracks simple can achieve so much in electronic music.  The lyrics are direct and not overly intricate and the stripped back arrangement of a quiet vocal and a limited rang of electro-notes communicates authentic emotion so effortlessly that it’s really rather beautiful.


The duo only have a kitten’s handful of demo material  available online but, whilst this is a little disappointing, the odd tracks they do have up certainly lend themselves to repeat listening.  This said, there is rumour of a their releasing a single in Oct/Nov and, although it is unclear whether this will be a remastered demo or an entirely new track, it’s already sitting firmly in my mental record collection.  I will admit to it being difficult writing about an act with such little readily available work but as it’s constantly drilled into us throughout our lives, it’s all about first impressions; IYES have made an indelible one on me.

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Arbor Lights – Hatherton Lake Album

Arbor Lights are a post-rock band without the frequently habitual pomp and pretence.  Their tracks are not excessively long in title, nor in composition, and their name was inspired by their original meeting place rather than an obscure cross between a children’s nursery rhyme and the various colours of weather.  Arbor Lights are simply a band that makes great instrumental rock music.

Released in July of this year, “Hatherton Lake” is a a testament to Arbor Lights’ aptitude for balancing the ambient with the assertive.  Soft and harsh tones are expertly blended and contrasted, communicating the progression of each track so cleanly that it renders any potential vocal addition mere clutter.  Individually the five compositions are musical tales in their own right but the album itself reads like a novel rather than a compilation.  The arrangement is so masterful that by design it insists that you experience the songs as a single 41 minute event.

The opening track, “The Silent City” coaxes you in with a steady atmospheric incline spanning over a minute before you are met with a confident guitar riff, which soon heralds the arrival of a steady driving beat.  It serves as an introduction to the band as well as the album, offering an insight into how Arbor Lights’ define themselves as musicians but also keeping the listener anticipating, as though the entire track is climbing to something other than its own climax.  At the barely discernible close of the first song you are left in no doubt that it is.

The ascent of Hatherton Lake continues through “Interstellar”, by which time the band is confident enough in the listener’s engagement to completely switch up the song halfway through, meeting the gentle lead into the defining track of the album, “Damascus”; a perfect equilibrium of the soft and harsh attributes of Arbor Lights.  If you do decide to listen to the tracks individually, “Damascus” will relay the experience of the entire album effectively enough in its own right.  It is excellent.

By “Silhouettes” the album is in its prime with a loud warmth subsiding in gentle ambiance, misleading the listener into thinking the final track “The Mayor and the Diver” will serve as a winding down.  Wrong.  The conclusion to Hatherton Lake is a raucous onslaught of distorted guitar and symbol battery.  It is unlike any other track on the album yet sits perfectly in the context of the collection.  It is Arbor Light’s closing argument – you have been lulled in and kicked back out, kicked back out to sit quietly and wait for more.

I’m waiting.

What an album.

Click here to take a dip in Atherton Lake

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The Scholars – Neon Sky (Stars) [Release: 30 September 2013]

If The Killers had been New Wave they would have been The Scholars.

I’m not suggesting that this Banbury-based band dons bejewelled pirate attire, nor that they wear more make-up than Pete Burns, but their sound is undeniably reminiscent of the bass-baritones and electro-atmospheric modulation of the Japan’s and the Blancmange’s.  That said, The Scholars are still a very current act.  Their music is engagingly atypical with subtle hooks and a confidently modern balance of driving synth and guitar all culminating in a proficiently-produced bundle of alt-rock potential.

Christian Gillet, Adrian Banks and Leigh Taylor have unleashed a number of original tracks under the The Scholars mantle with their intelligently diverse debut EP “Arrival/Departure” launching in Spring of 2011 and a string of single releases since following in its attention-grabbing wake.  They continue to be vigorously supported by the BBC Introducing programme and have secured supporting spots for artists like Two Door Cinema Club and The Boxer Rebellion.

Amidst all this tipping of future top-spot status and BBC romantics The Scholars have emerged with another original offering set to further cement their critic favour.

Neon Sky (Stars) bears The Scholars’ signature easy-cool with its airy synth, infectious power riffs and confidently unique vocals.  The clever, slightly abstract lyrics and that almost anthemic chorus of “Watch me as I fall from this neon sky” makes this track both enjoyable to listen to and to sing along to, and it doesn’t take a big stretch of the imagination to see it chanted back from a large festival crowd.  There is a markedly polished feel to this latest release in terms of production quality and musical construction which really communicates The Scholars’ commitment to their work and the potential that so many industry professionals have already realised.

Neon Sky (Stars) is available to pre-order on iTunes with the release date set for 30th September.  Whilst you’re there check out their other work; this is a band that is rapidly evolving from strength to strength and it’s really great to be able to experience this transition listening through their back catalogue.

Click here to touch the Neon Sky (Stars)

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Charlotte Ashdown

Writing all of these features on talented singers and musicians has forced me to confront the fact that I can carry a tune about as well as I can say no to a chocolate digestive – it’s simply not in my skill-set.  Whilst it is nice to maybe have an explanation as to why cars erratically pull over when I’m singing my way down the road with my window open… also as to why the shopping centre had to be evacuated when I was browsing in HMV that time…  I can’t help but feel a little sad that it’s highly unlikely someone will be writing about my vocal prowess any time soon.  What is admirable about the really great artists, however, is that regardless of your own talent (or lack thereof) they inspire you to entertain the idea of packed audiences and critical acclaim, even if just for a short while.  They incite hope in the hopeless and, whilst that may be rather dangerous in my case, encouraging creativity and self-expression in people is an incredibly worthwhile pursuit.

The artist inspiring me to practice my banshee babble this week is Charlotte Ashdown.

Charlotte Ashdown-Aint That Kinda Girl

Hard to pin to one definitive genre, Ashdown’s music embodies the silky ease of soul, the impulsive groove of funk and the accessibility of pop, creating a sound that is musically accomplished yet effortless for the ear.  It’s eclectic and engaging with inventive keyboard riffs and a vocal bursting with personality.  The whole set-up was assembled as recently as last year, yet Ashdown and her band have managed to create a unique and considered style that really sets them apart from the crowd.  The potential is vast and as she continues to define and grow into her sound I think the soul singers of the charts will glance behind themselves ever more anxiously.

There is a quiet power to her voice which she unleashes just enough to impress without needing to win her audience over with the prolonged belting blasts you know she’s capable of (check out her Beyonce-Listen cover!)  Her range is extensive and natural in execution as it dances over the ambient guitar and mellow keys; vocal and instrumental accompaniment are as suited to one and other as socks and feet.  Outside of her own style her tone has an noticeably cool affinity with chillstep and electro music, making her potential as a recording artist even more obvious.  This particular track she worked on with OjO  is a great example and such a good track.  I’ve been listening to it somewhat obsessively.

OjO-Down The Road (Feat. Charlotte Ashdown)

The musical maturity of Charlotte Ashdown’s original sound is wonderfully contrasted by the contemporary lyrics penned by the artist herself and inspired by her own personal experiences.  Her writing style brings a strong current relevance to the more traditionally-influenced aspects of the music.  Her clear diction and confident vocal projection communicate lyrics of the irritation of shallow propositions and freedom from past relationship hangups in an almost conversational manner, making her a very congenial artist .  Also, after watching her various videos on YouTube it is clear that Ashdown is as accessible and endearing off record as she is on.

It is very refreshing to see young musicians embrace different styles of music and use their influences to create an informed individual style of their own.  This particular musician matches originality with charming likeability so effectively that you can’t help but enjoy her work.  She is an invigorating talent and her debut tracks relay exciting promise of things to come.  I am in no doubt that we’ll soon be hearing Charlotte Ashdown’s dulcet tones and that infectious laugh much louder and much more frequently.

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Red Crow

If you’ve read the About STX page you will have some idea of why I started this site.  If you’re toying between a unnatural fixation on faces and a passion for underrated artists then I can assure you it’s the latter; faces are lovely and all that but I think they have their own time and place.  Stopped in Trax is my excuse to hunt around for those special artists who may be just starting out in their career or have otherwise been sadly  overlooked for the Miley’s and the One Directions.  These artists continue to baffle and amaze me; the thought that there are people out there somewhere making exceptional music that simply doesn’t reach a fraction of the ears it deserves to is curious to say the least.  If I am able to bump up the numbers for even one hidden talent then my hours hunched over my desk are rewarded tenfold, on top of the reward already afforded me by the music itself.  Stopped in Trax is indebted to the “unfamiliar faces” and acts like Red Crow continue to be immeasurably site-affirming.

Red Crow is a 5-piece band from Banbury, flying largely under the radar, making some of the most interesting and enjoyable music I have had the pleasure of listening to.  Their tracks are musical events in their own right, each taking on a form transcendent of structure and composition to produce a unique and multifarious experience in which you are drawn to lose yourself.  There is a rich depth screamingly indicative of detailed and thoughtful construction, which serves not to tame their raw authenticity, but rather to harness it and use it to hit you around the head with greater accuracy and perhaps less bruising.  They refuse to be background noise to even the most engaging activity, demanding attention without even needing to ask;  Red Crow makes music you listen to, rather than hear.

Red Crow-City Riser

Lead vocalist, Patrick Currier, has a unique tone to his voice which embodies multiple styles of music and affords Red Crow’s sound a diverse appeal outside of the respective confines of alternative folk, rock, or any of the other genres to which it may be objectively assigned.  It is earnest and full of personality, contrasting gentle breaks and clear power in one breath.  At this juncture I often might comment on the level of control the vocalist exerts over their voice, however I’m not entirely sure of the actual existence of conscious regulation in Currier’s vocal.  I think he simply sings and his voice naturally carves its own path through the melody.  This freedom is reflective of the musical aplomb of Red Crow as a wider collective – they make their own music their own way.

Originally Currier’s solo project, Red Crow has evolved and taken on a life of its own, drawing in the formidable musical prowess of Christopher Robin, Matt Watson, James Stevenson and Fred Whatmore, to become the band as it stands today.  The risk when bringing together individual artists is always that they will remain as such, playing their own gig and not producing a cohesive sound under the band umbrella; Red Crow is what happens when you bring together individual artists that were always meant to play together.  Entirely united, the instrumental isn’t merely a support to the lead vocals, but the harmonic extension of the lyrics.  It just works so well.

Dripping with clever wordplay and attentive fluency, the words to Red Crow’s songs call out so directly you often find you have completely paused just to listen more intently (it has taken me so long to write this feature… )  The music has the style and the substance to back it, with equal impact both in and outside of any mastering and mixing.  This acoustic take of their track, “Love is Strange Currency” affords a beautiful resonance to its lyrics and is rapidly becoming one of my favourite songs the more I listen to it.

Red Crow-Love is Strange Currency

Press have likened Red Crow to Mumford and Sons and, whilst admittedly this is a comparison I have justifiably made full use of in the past, I would like to suggest that in this instance it is somewhat misplaced.  Mumford and Sons seem to be the measure of all folk-related acts emerging onto today’s alternative circuit and a comparison is definitely an accolade of high regard, however Red Crow are something different, something special.  To compare Red Crow to Mumford and Sons would be to put them in the arena of folk ambiguity.  Red Crow are Red Crow and they embody all it means to be a measure in their own right.  Let their own hopeful comparisons commence.

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Deap Vally

In my Hearts Under Fire review a few weeks ago I touched on how important I think it is for women in rock music to elect to be ambassadors for the female cause rather than to have the title thrust upon them the second they pick up a guitar.  Whilst HUF are pointedly for the music rather than for the girls, some bands do choose to pick up the torch for the feminism movement and use their music as a vehicle to express their womanly pride.  This is not to suggest that feminism entirely defines all of these bands however; some just enjoy making music and advocating self-celebration of the female being and sexuality is simply a part of how they construct themselves as musicians.

Deap Vally is doing both it for the music and for the girls.

Deap Vally-Baby I Call Hell

The immense sound of this LA rock duo is generated by the compact arrangement of vocals, a guitar and a drum kit.  It has all the grunt of rock n roll at its synoptic root but this is commissioned by the empowered reclamation of female sexuality.  Deap Vally define themselves as a ‘post-post-post feminist band’.  They pay tribute to those who have advocated the cause before them whilst creating their own new interpretation of feminism based on a playful attitude to femininity and sexuality, with emphasis on the universal transcendence of really great music.

There is something inherently primal about the Deap Vally sound.  It takes you by the soul and shakes you.  Hard.  Not maliciously but rather with the desire to evoke from you a visceral reaction whilst outwardly it hits you at the optimum frequency for making your face fold in on itself.  Deap Vally’s music is certainly not a spectator’s sport – participation is encouraged or otherwise kidnapped.

The driving guitar riffs are filthy and the drums are high tempo and diverse.  From the instrumentals alone you could easily recognise this band but the addition of that seductively bluesy-rock vocal puts Deap Vally in a class of its own.  Lyndsey Troy has an incredibly raw and unrestricted tone to her voice yet maintains a level of control that keeps the vocal on course without hindering its natural freedom; it’s almost organised anarchy.  You get the impression that no two performances from Deap Vally will be quite the same and such creative spontaneity is defining of the rock n roll genre.  When Julie Edwards lends her own vocals to the mix, the sound becomes quite anthemic.  The two artists are perfectly suited to one and other and together they make an incredibly streamlined outfit.

Deap Vally-Lies

There is something innately sexy about Deap Vally and it extends beyond the fact that they are obviously attractive women; their self-confidence and belief in their work is hugely appealing, as is their attitude to life in general.  Their recently released album, “Sistrionix”, is bursting with amazing original tracks written with their signature humorous and stylish left-field personality.  When discussing one of these songs, “Walk of Shame”, the duo offer the logic: “Why is a walk of shame shameful?  Have fun!”.  They are, with intentional disregard of eloquence, effing awesome.

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Rachel Kerr

I have often been accused of being unobservant.  A couple of months ago I found a rather pretty lampshade in my hallway.  I immediately used this as an opportunity to lovingly compliment my father on his interior decorating prowess; I was greeted with ridicule.  Apparently the lampshade had been accenting our hallway for over 8 years… I say pictures or it didn’t happen.  Once recovered, I again attempted to be a thoughtful daughter and this time compliment my father on the new cross-detailing in our windows; again I was snubbed.  This time neglect was delivered under the guise that this was in fact on the house when we purchased it ten years ago – a ridiculous suggestion.  

Excuse me if I look at the world with the wondrous eyes of a child.  Surely I can be forgiven for initially missing hugely obvious things?  Hugely obvious like parts of my house or Rachel Kerr’s talent…

Rachel Kerr-Hold My Hand

This London-based singer/songwriter has quite simply blown me away.  Her sound hearkens back to the hay days of the Arethas and the Dionnes, with the brilliantly tailored addition of urban London flavour.  I struggle to find a proficient adjective to describe her vocal range and control so, in lieu of stunning and gobsmacking’s love-child, I will have to make do with ‘exceptional’.  What is particularly impressive about Kerr’s vocal ability is that the tremendous runs and riffs, the trills and the adlibs all come from such a composed place.  She smiles as she defies logic, performing the tightest of vocal acrobatics at unfathomable speed.  She has the inherent knack of making effort look effortless, a quality indicative of an artist who’s future as a singer was pre-determined at birth.

A hugely enjoyable performer to watch, she  consistently has even her support band grinning and shaking their heads with a mixture of admiration and disbelief.  The stage is her home and her easy rhythm is the perfect accompaniment to her music.   Kerr looks so confident in her live performances that it negates the need for the word entirely – she simply is the live performance.  I particularly enjoy watching her unleash her powerhouse vocals on the unsuspecting patrons of “Village Underground” in New York, it makes me smile every time.  Go on, Rachel! 

Rachel Kerr-Proud Mary

Off-stage Kerr reads as an immensely real and authentic person who passionately cares about music, not just her own work.  In interviews she is a very natural and endearing presence, speaking honestly about herself and the views on and relationship to the wider music community.  She also completed a schools’ tour across secondary schools in London this Summer during which she visibily engaged and inspired children with her approachability and passion.  Her substantial talent is equally matched by her humility making her entirely deserving of role-model status, a rarity in today’s music society.

Both a formidable vocalist and a gifted songwriter, Kerr is one of the UK’s biggest potentials.  She has already received high acclaim in the music industry, attaining a 2012 MOBO Award and even securing a performance singing for Bill Clinton, however her talent still remains entirely disproportionate to her status.  She has recently released the heartfelt original track, “I Will Love Me”, and is set to release a much-anticipated EP in September which I hope will storm the charts, as is its right to do so.

In recent years the music industry has belonged to the British female vocalist and as we slip alarmingly into the old boy-band saturated culture, Rachel Kerr is exactly what we need to help keep music on the right track.

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Mr Tom

Social networking sites are brilliant for finding new artists or even finding new listeners.  I really can’t get to grips with Twitter, hence why there may be a noticeable favouritism towards the STX Facebook page, but I must say it does seem to be the better option for finding new listeners if you’re a music artist.  I’ve had numerous bands follow the Twitter account in the last couple of weeks and I’m so glad they have because it’s given me some really exciting new acts to listen to.  It’s important to go out and get your audience in the music industry and one band that has definitely gone out and gotten me is Mr Tom.  Thanks Mr Tom.

Mr Tom-Feet Hit The Floor

Mr Tom’s electro-driven indie sound is strikingly current and immensely enjoyable, blending raw underground charm with the easy finesse of a commercial sensation.  Their tracks have all the frankness and vigour of youth with unabashed lyrics and beats that incite rhythm out your head and a foot at minimum.  Full of energy and brimming with personality, they make an immediate and indelible impression on the ear.  The band have been playing together for four years and appear to have developed a tenacious bond which really translates into their music and into their performances.  They clearly enjoy each other’s company and enjoy their work and this instantly makes an act more likeable for me; how can an audience be expected to enjoy music the artist hasn’t enjoyed creating?  Young but driven, Mr Tom are fun without the frivolity.

The four lads from the South define their sound as ‘Indie Banger Pop’, a hybrid entirely put into context by tracks like “Feet Hit The Floor” with its irresistibly catchy choruses and guitar riffs you can sink your top-buttoned shirt into.  Lead singer Nick’s boldly British vocals fit the feel of the band perfectly with just the right mix of talent and bravado whilst band-mates Donny, Steve and Leeroy ensure Mr Tom walks the walk as well as talks the talk with their confident musicianship.  They have a flair for writing simple but well-executed music and this really shines in their stripped-back acoustic performances.  This unplugged rendition of the title track to their soon-to-be-released EP “King and Queen” is especially nice (a clip of the EP version plays at the end).

Mr Tom-King & Queen (LAF Films Acoustic Session)

Mr Tom is a band set to turn heads in the music world, already making its presence known with outside interest leading to promo work with a clothing brand alongside artists like Maverick Sabre and Deadmau5, and even to a synch gig with British film, Piggy.  The lads do appear to realise that there is no such thing as a free deal in the music industry, touring and playing festivals relentlessly to get their music heard (not negating the importance of access to a free bar, of course…)

Mr Tom’s third EP is released on the 1st of September ahead of their Bestival set and features some brilliantly original and catchy tracks – get it in your life.  I really really like this band.  Normal lads with an abnormal sound.

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[NB 03/06/2014: Mr Tom unfortunately announced their disbanding on 13th February 2014]