Song reviews

Another day another singer songwriter. Harriet Jones has an appealing voice and – assuming she wrote "In The Basement" – a pretty solid songwriting skill set. However, the clumsy and clunky arrangement robs the song of any momentum leaving Ms. Jones rather more exposed than she needs to be. If thus song were to be re-recorded professionally then I am certain that she would make a much better impression.

Driven along mercilessly by a nervous guitar, “Summer Wine” seems a positively whimsical song for someone like Daniel Badeie. That said, a good pop song is what it is and, with summer approaching, “Summer Wine” should find many friendly ears ready to fall for its inescapable charm.

Swedish five men and maids in a row doing the deeply meaningful deed thing, Bernard and Bianca go quite large on the emotion with a swelling chorus driving “Karelia” along. It’s a bit indie, it’s a bit power pop and it is sure to get them over the half way mark on the bill at any major European festival this year.

“Michael In The War” is a somewhat lackadaisical sort of anti-war song that falls short of actual protest. The primitive band in a box production does however hint at Apples in Stereo as an influence but the end result, in all honesty, sounds incomplete and a bit awkward.

Edgy and sitting upon the edge of indie rock territory, Cloneasaurus – as musicians anyway- sound more than a little uncertain throughout “Strongbad the Good dancer” which is at odds with the clearly confident male vocals. Give them a bit of time to mature. That’s what I say.

Making a reasonably convincing attempt at being soulful, Lloyd Glen struts his laconic stuff on “King On A Copper Throne” to decent effect. The words fit the mood but a bit more passion in the presentation would not have gone amiss.

Despite being but a one man and a laptop band, Aberdeen’s Sam Lumsden exceeds expectations with “Into the Light”. He sounds commercial but has more than enough edge to make a lady’s heart flutter. If this song is indicative of what we can expect from him, there is a clear and present danger that he could do decent festival business.

Modern day electro pop from Strangers. Whilst there is not much innovative to the music, you have to admire the emotive vocals courtesy of David Maddox-Jones and Eleanor Fletcher that make “Something New” something a bit special.

She’s Swedish so she is, perhaps unsurprisingly, retro but Josefin nonetheless impresses with a vocal performance that bears comparison with Annie Lennox. The rap interlude; however, seems a clumsy addition to a song that would otherwise sweep you straight on to the dance floor.

“Thickslap” is a rambling and untidy slice of lo-fi grunge rock from Cleveland’s Stalkers. Despite the technical flaws however, there is playfulness to the performance of the song that indicates that this band won’t be getting struck in someone else’s rut.

A rough and ready demo from an earnest Glasgow singer songwriter, “Rosė Wine” shows Stevie Lightnin’ to be free of those all too common Nick Drake staring at the ground influences. Instead he shows that he has a clear desire to entertain here and that, in itself, is quite refreshing.

There’s always a place in my heart for some oddball European electro and that’s what you get from Camilla Sparkass with the female non vocals and a simple sequenced beat providing proof that “Precious People” is borne of arthouse sensibilities. Andy Warhol would definitely have approved.