Song reviews

Interesting take on indie rock from this Leeds band.  In “Deadlights”, the reliance on guitars and power chords expected of the genre has been superseded by some analogue style synth sounds that add, of all things, drama to the mix. The lead vocals are also more theatrical than you would expect marking this band out as one trying to be themselves rather than somebody else. Otiks are worth watching, methinks.

“Losing You” is melodic and emotional rock with big riffs just like you used to get in the era of hair bands. Impassioned and confident male vocals add the finishing touch to make this song something of a 100% macho big, brash, guilty pleasure.

Drowning in retro psychosis, The Galileo 7 shake their bells and start impersonating the British take on sixties Californian psych rock like, say, early Pink Floyd. “Staring At The Sound” therefore sounds more familiar than it should and, whilst reverentially done and all that, this has all been done before and no doubt will be again.

Grooving gently like a hybrid of sixties’ songstresses like Cilla, Susan Maughan and Sandie Shaw, Suzi Chunk walks the walk, talks the talk and sings the song like she is on a Boeing 707 to the London Palladium with "Probably Normal". Nothing wrong with that of course but the question remains – is this retro or is it loungecore?

“Passing Sun” is rather sweet with an adorable young female vocal making those simple words all light and fluffy and wistful.  However, Cara Mitchell has stepped right into Amy Macdonald territory with this one and there probably isn’t room for both of them in the cold heart of this nation. I know which one I want to prevail though.

Electro popsters like they used to make, Blindness riff it up over a rock sold beat to throw “Glamourama” over the wall of indifference into the arms of radio success. Whether anyone actually buys this sound nowadays is in question but this is nicely done in a suitably spirited and grungy kind of way. Underneath all the mascara though, Blindness have the makings of a proper rock band.

The Skunnered finally reveal their true folky  colours with this song. “Young Charlie” is all Jacobean rebellion and Aran sweaters which is more than enough to strike fear into my heart. As with their other songs however, “Young Charlie” is skilfully and likeably performed so I can’t really hate them that much even if I wanted to. I wonder if they have a song about Scotland’s greatest hero Alex “Tax Me In The Morning” Salmond?

“Stay Positive” is quite a sweet, piano driven song with uplifting lyrics like you might have expected of some post hippy era singer songwriter, Clearly musically educated,  Amy Sinha has the kind of endearing voice that can easily sell such sentiments even if the “band in a box” production lets the side down somewhat. However, if someone were to throw some cash in the general direction of Ms Sinha then perhaps great things could happen.

“Cordelia” is a delicate and beautiful song. There’s not much to it other than a simple piano figure and the most wondrous, and yet unforced, voice of Ms. Mango. Simply enchanting. No further words are needed.

Hard to believe that I missed this one from Glasgow’s own superdiva Ashley Collins. “First Love” is a fluffy bunny of a song that neatly pastiches all the plastic pop princesses that contaminate the charts these days. The lyrics are precisely pitched at a level for radio play and you can hear that extended dance remix coming right behind it. On a topical note, Glasgow’s pop princess is, of course, a class act and has always managed to keep her top on unlike certain other (real) princesses we could mention.

Thought I heard this one before but maybe not as I should have a mental block in all matters concerning Aberdeen. Anyway, venerable Glaswegians The Skunnered join “The Road to Aberdeen” and name check the cities and towns as they head up the A90 to hell.  It’s a good natured song that rolls along nicely but Aberdeen, believe me, is not worthy of this song. Or any other song for that matter.

Was I Supposed To” is a neat little Europop song that, given the amount of retro influenced music floating about these days, seems almost timeless in its execution. Robotic rhythms drive the song along while Cajsa Siik floats her sultry voice on top of it all.  Really rather nice.