Song reviews

Melodious, mid paced and obviously mature, “Walk Alone” highlights the deep and meaningful vibe that characterises London’s Lizzie and the Yes Men. The song is perhaps an unwise choice for a single, but makes for a fine album track for, in the final assessment, Lizzie and the Yes Men always were more of a relationship than a one night stand.

Endearing casual in his approach, Jamie Flett meanders through “Ewar Woowar” like a man so enamoured with west coast psychedelic rock that a marriage proposal has to be on the cards. As always though, Mr Flett’s proper manly voice and those ever present hints of quirkiness provide all the evidence needed for a conviction.

“Crystal Hall” is one of those songs that probably says more about those you listen to it than the actual performer with the ever ethereal Luna Green nonetheless taking the song and floating it upon a wistful cloud before leading all who hear her for a look in Snow White’s mirror. It’s deep.

Whilst Memory In Plant seem to be performing a peculiarly perverse pastiche of art house chic, even the sometimes awkward tempo shifting loops and reverb powered exorcism of musical influences from across the world can’t stop “Shame on Me” from being a somewhat offbeat but ultimately convincing song.

Although there are enough hard rock clichés on show to suggest that Fat Goth are out to seek the approval of the hairy and unwashed, there is also an undeniable humour to the lyrics of “Sin Altar” and that suggests to me that this is a band smarter than your average member of the Scottish parliament. I know that many of you think that there are turnips smarter than the average member of the Scottish parliament but no turnip ever did pseudo machismo as well as Fat Goth do.

“Road To Recovery”, by San Diego’s Double Score, has the mark of a DJ stamped all over it so I wouldn’t be surprised if it exists in any number of remixed versions. There’s not a lot of song to hold the dance floor beats together in this version however and, to tell the truth, a more impassioned vocal wouldn’t go amiss either.

Deep and intense, Manchester band Love For Zero walk their way through “Dust” at a middling pace that is suggestive of a near devotional reverence to stadium bands like Coldplay. As you might expect, there’s a big chorus to encourage you to wave your lighter in the air and the song is nothing if not polished.

Once you get over the novelty of a Scottish singer tackling anything remotely topical, “Better Off Alone (A Love Song to Scottish Independence)” remains plenty good enough to mark Callum Baird out as a smart lyricist with a knowing smile on his face. Neatly namechecking his way through everything that you might, metaphorically or otherwise, associate with the Scotland of today, I wouldn’t be at all surprised if this turns out to be the national anthem of a certain soon to be created independent state.

Revving up the engine of talent, Udi Levy races through his rock instrumental called “One For My Daddy’O” with so much fret board fleetness and flair that you will have no option other than to persuade him, by fair means or foul, to join your band.

There will always be musicians out to impress the mainstream and Roger Gomez seems to be one of those people. His single “Monday’s Guide” therefore aims for the middle of the road and gets there without fuss, flair or fanfare.

Complex and no doubt proud possessors of unfinished beards, Israeli band Memory in Plant infuse their song “This Love” with a well selected set of musical influences that lift them into the realm between post rock and electronically induced psychedelia. Mind expanding is clearly the way to go.

More mature and melodramatic pop from The Courtesans as “Genius” holds the stereotyping of women up to the lyrical mirror. It’s a slickly produced and performed song that walks confidently through the shadows even if the cynical amongst you might wonder who is actually being stereotyped here.