Single review: ‘Silhouettes’ by ‘Avicii’.

Avicii - Silhouettes

Avicii - Silhouettes

By Jonathan Bradwell.

Over the past year the word Avicii has pinned back the ears of clubbing devotees all around the globe. Whether it is for the artist’s unrefuted ascendency through the ranks of the house scene over the last twelve months, or the famous one million dollar donation to ‘Feeding America’, the twenty two year old DJ Tim Bergling (Avicii) is something considerably different.
Sticking to the poignant formula and sound seemingly influenced by dance juggernauts The Prodigy, this individual has conceived a way to connect this approach with the mainstream, David Guetta style, pop-dance production method in his latest single ‘Silhouettes’.

From the inaugural fluttering of synthetically designed keys pirouetting the song into motion, the feeling of summer can’t help but burst into your head. Although this is all nice and sentimental, you can’t help but notice something obtrusively different other than the overtly lighter sound between ‘Silhouettes’ and the last Avicii hit ‘Levels’; yes, the vocals! In enthusing those tastefully crafted vocal sequences into the maddening bass line, ‘Avicii’ has defined a generation of those that live for the weekend, to sing along to dance anthems, and forget the taxman, ‘nine until fives’ and bills for just a night.

Although innumerable modern dance anthems dependency on an unshakable sound to stay at the top of the charts can lead to monotony after a few listens, Avicii’s divergence of electronic sounds makes this undeniably addictive. The rising fuzz perforating your ears, the punchy keyboard lead: It all gets those hips loosened.
Avicii has seemingly migrated away from the retro semblance of notorious hit ‘Street Dancer’ into a supple, mature and more heterogeneous style. There literally is so much happening that to analyse it in delicate detail would take weeks to accomplish. The one listen you may give it is not sufficient to fully deduce the work gone into this piece.

Available on the single release package alongside the radio edit is a full length version. If there is anything to be learned from listening to the original full piece is that the requirements of radio broadcasts for such abbreviated versions has somewhat tainted what is most captivating about ‘Silhouettes’ architecture; the patient and progressive build-up of the varying segments.
The song is cultivated and detailed throughout the entire seven minutes. However, this duration is not enough to conciliate our needs. It leaves us craving more, making it plausible ‘Silhouettes’ will be commemorated as one of ‘Avicii’s finest moments.

Ironically within the song lay the lyrics “it’s all about the new-found”. Avicii could not be more right. Whilst attaining mainstream success the producer persistently finds untrodden ways to whirl his sound down different avenues, keeping his name fresh and at the top of the game. ‘Silhouettes’ is a terrific anthem to prepare you for the festival season.
The only challenge affronting the young songwriter is whether he can continue to keep his sound crisp using the constant development seen between outputs. The future seems very bright. For now, enjoy it, and dance.

(Picture courtesy of ‘Beat My Day’).

‘Avicii’ performing ‘Silhouettes’ live:


“Futures” at Tramlines 2011.



By Jonathan Bradwell

Performing in one of the hustling venues of the Festival tonight is the neoteric British rock romantics the “Futures”. With only four chances to catch them this summer, the venue is so frenetic that the temperature gets plethoric before the band materialize. With an appallingly little amount of video footage of their live gigs obtainable, but having an incontrovertible reputation of brilliance, the “Futures” come on stage to hearty cheers; Cheers from people that wont be disappointed tonight. With fabulous lyrics (Although often somewhat seemingly over emotive), juxtaposed alongside mellifluous musicianship, it’s to no astonishment that the “Futures” are signed to the great “Mercury Records”.

It is clear from the offset that the “Futures” take the value of rehearsing for their live performances earnestly. Despite only being a complete and functioning band for two years now, there are aspects of fluency, artistry and utter professionalism to the sounds distributed by the Buckinghamshire four piece. Showing no signs that there live performance is anything less unrivalled than their debut album “The Holiday”, ‘Ant West’ (vocals) shouts and sings with such tonality and commitment that we commence to wonder why this band were not given a slot on one of the more palpable stages of the weekend.

After roughly Twenty minutes of their boy band looks and pop song melodies it ultimately comes clear that this set list has little ups or downs. The band seem to be playing it safe with a reliable set list of gliding material with little divagation from their rock band pigeonhole. However, the songs that are played emit from the stage with such radiance, a radiance which clearly shows in ‘Ant West’ (vocals), as the smile he meandered on stage with is indefatigable until the end. A brand new album and some more live shows simply can not come soon enough.

Most of tonight’s songs sound sparkling, and even though having many songs that all sound like they could be singles may make some lesser bands sound slightly one dimensional, the initial simplicity of these particular songs with their added hooks and quirky riffs is what makes them worth appreciating. Even on record songs like ‘Oxygen’ make you crave the chorus, making even the static of listeners tap their foot, clap their hands or sing along. It’s this approach to modern rock that makes the “Futures” so addictive. Let’s not forget, ‘Casey Roarty’ (Guitars) fret board work is immensely impressive, and helps to keep it stimulating and contrasting from the rest of the names in the genre.

As the “Futures” depart from the stage to as much noise and applause as they entered with, it’s not laborious to anticipate that in a few more years the “Futures”, if they carry on rising upward, will intensify their live performance even further and move on to be an even more remarkable band. Their popularity really becomes plausible when, after their set has finished, people literally begin to vacate the venue. With an assortment of gnarly rock grooves, bass lines full of character and vocal melodies that make your hips move, let’s hope that the “Futures” near future is as flamboyant and wonderful as their efforts tonight.

(Picture courtesy of “PastPresentFutures”).

The “Futures” official music video for the song “Sal Paradise”:


“Twin Atlantic” live at Tramlines 2011.

Twin Atlantic

Twin Atlantic

By Jonathan Bradwell.

Britain, Scotland, Glasgow. The commorancy of a number of raunchy alternative rock acts tipping just into the limelight of the publics recognition with the upswing, popularity and undeviating faith in the quality of modern Scottish Rock. Just culminating above the rest of the underground acts from the Northern Borders are “Twin Atlantic”, chosen specially to headline the average sized stage at “The Leadmill” as past of the prodigious Tramlines Festival 2011. With the venue compressed to the rafters with perspiring, drunken party goers, a chiselled suspense grapples with those stuck to the beer soaked floors of the venue as ‘Twin Atlantic’ man the stage.

With a fanciful set list well fabricated and designed for Festival crowds, crowds where people in attendance may be unfamiliar with mid tracks from such bands, “Twin Atlantic” keep the evening eloquent with such songs as the highly acclaimed and eerily catchy “Lightspeed”. The implausibly powerful chorus of colliding guitar sounds and the trademark tangy vocals of ‘Sam Mctrusty’ (vocals) saturate the air sublimely, getting the crowd in the spirit for a night of power rock ballads from a seemingly uncontainable might. “Twin Atlantic” perform songs that are both of a high quality and unavoidably charming when seeing them live.

Keeping the Glasgow spirit close to his heart and mind, ‘Sam Mctrusty’ (Vocals) knows how to gratify a croud of angst badgered teenagers, as well as make those of us older in the audience beam with merriment, with his straight up and contentious banter. A painless “Who the fuck are you” is all is required to extinguish the outbursts of one festival attendee who clearly was an irritant to the bands proceedings tonight. Fighting talk aside, “Twin Atlantic” prove they have what it takes to break hearts too with an illustrious representation of their classic acoustic style song “Crash Land”.

Although their performance is as adjacent to supremacy as live music gets, it’s this very border between their recorded and live outputs that is their only impediment. The neck-breaking potentiality of their recorded material is a few notches above what’s on offer tonight. Admittedly though this is probably more a case of the high quality recording than any liability on the band themselves, and it would be discordant to try and pull them down for such a minor thing. With overwhelming musicianship from the likes of drummer ‘Craig Mckneale’ (drums), “Twin Atlantic” are inspiration for other bands climbing to eminence.

Unlike much of this decades artists, “Twin Atlantic” stand out as a band void of materialistic sentiments, obliging even those down just for some free music tonight for their patronage. ‘Sam Mctrusty’ (vocals) ties up by stating “I know some of you do not know are but just came down because it’s free, and we thank you for supporting British Rock”. Overpassing the borders between stunningly dazzling music, sportsmanlike respect, whilst keeping it convivial and exciting, this wont be the last we see of these Scottish Rockers. This was one successful Crash Land on the official opening nights of this weekend’s festival.

(Picture courtesy of “Dear Scotland”).

“Twin Atlantic” playing “Lightspeed” at the Radio One “Uniting Nations” event:


“The Ghost of a Thousand” Live at Tramlines 2011.

The Ghost of a Thousand

The Ghost of a Thousand

By Jonathan Bradwell

There is no greater way to say your goodbyes to Tramlines 2011 than snatching “The Ghost of a Thousand” at their self-designated last ever Northern Show. Sorrowfully for fans, on the Thirty First of March this year the Brighton based Southern Rock outfit surrendered a devastating statement titled “End of the Road”, in which the band communicated they were irrevocably calling there time together to an end. Those who were at the “New Music Stage” around Six o’ Clock on the Sunday of the urban festival were bestowed reasons that “The Ghost of a Thousand’” will never be overlooked, and eternally missed.

Within Thirty Seconds from the first wondrously sounding Guitar notes from ‘Jag Jago’ (guitars) and ‘Andy Blythe’ (guitars), encapsulating and vehement frontman ‘Tom Lacey’ (vocals)  had taken the time to embrace the fans in his own exclusive and unmatched way; by cantering headfirst into the collections of onlookers. Bottles, plastic cups and an assemblage of magazines and papers began hurtling around the crowd, adding and intensifying this near ‘last chance to see’ feeling in the air. The guitars unpretentiously sound compatibly piercing, fluttering across “Barkers Pool” and into our heads with the same ease of listening to the songs on the records.

The way their Punk-esque propensity and sound lingers them just above the rest of the rugged rock bands in Britain today is no stranger at the live shows. Although supposedly a family festival, ‘Tom Lacey’ (vocals) detests to abstain from swearing. His acumen: “I’m not supposed to swear but your kids will learn these words eventually without me teaching them”. With a few more expletives out of the way, the band whirl on with some well known hits from each of their full length releases, those being “New Hopes, New Demonstrations” and the earlier “This is where the Fight begins”. Brilliance.

Although not having released an album for a couple of years, the ruthlessness and unpolished application in which the single “Knees, Toes, Teeth” is reproduced is reason enough for the band to be here. The inaugural three chords and drum roll is undoubtedly unequivocal amongst the rest of their material, but the opening lyric of “Fucking New Romantics, it’s only rock and roll” is transmitted with such feeling that even those sauntering past can’t help but gyrate their heads. “The Ghost of a Thousand” unquestionably treasure playing live, and even where songs seem to get a little lost, all can be forgiven.

Drawing things to a close after a lengthy, full force set is the famous marvelled hit ‘Bored of Math’. With as much preciseness and fearlessness in the last half of the set as the first (and the same can be said about their career), the band leaves the stage having given something for everyone to smile about. As if being at their last Northern show was not remunerating enough, ‘Tom Lacey’ (vocals) didn’t leave without saying thanks for the career their fans have so forcibly supported: “Thanks for the memories we fucking loved every second of it”. Don’t be too sombre; after all, all good things must come to an end… regrettably.

(Picture courtesy of “Offset Festival”)

“The Ghost of a Thousand” perform “Knees, Toes, Teeth” at a show:


News: “Abigail Williams” well underway with work on new album.

Abigail Williams

Abigail Williams

By Jonathan Bradwell

Treacherously heavy Death Metal band “Abigail Williams” have announced they have nearly concluded the writing procedure for their forthcoming album, set to be released in the early stages of next year, since beginning to work on the tracks after they concluded their last European tour.

The almost Doom Metal esque group are set to test the waters with some of their sparklingly fresh material on their forthcoming tour, set to run between August the 25th and September 23rd. The tour will integrate a number of shows in the United States of America, but will not be coming to the shores of the United Kingdom.

Band leader ‘Sorceron’ has, according to the bands official MySpace blog, stated the following about the bands last tour: “The shows were excellent. We had a great time with our friends in “Iskald” and “Thulcandra” and hope we can join them again in the future. A big thanks to everyone who came out to the shows; we appreciate your support”.

“Abigail Williams” are a Los Angeles based band. Although having countless parallel traits as the majority of leading Death metal bands, the group incorporate a fluent and vastly prominent use of keyboard and synthetic effects into their music.

‘Sorceron’ also added: “the new material is a continuation of our last album but with more atmosphere and far more extreme tempos”.

The band currently has four releases out on the shelves. These are “In the Absence of Light” (Studio Album), “In the Shadow of a Thousand Suns” (Studio Album), “Legend” (EP), and another EP by the name of “Tour 2009 EP”.

Read the full press release from ‘Abigail Williams’ to find out more about what to expect from the forthcoming album. It can be found at: http://www.myspace.com/abigailwilliams/blog/543678461

(Picture courtesy of “Trip Leg Music”).

“Into the Ashes” performed live by “Abigail Williams”:


News: “Arch Enemy” announce one off live show.

By Jonathan Bradwell

Arch Enemy

Arch Enemy

Modern distinctive Heavy Metal group ‘Arch Enemy’ have announced a unique one-off  live show at the London Shepherds Bush venue on the Sixth of December with record label friends ‘Warbringer’ and ‘Chtonic’ set to support.

The tickets are presently on sale at the 02 Shepherds Bush venues official website priced at a very fine and sensible Seventeen Pounds Fifty. The doors are set to open at Seven PM with anyone under fourteen to be accompanied by an adult.

On the “Arch Enemy” official blog on the popular social networking site “MySpace”, front-women ‘Angela Gossow’ wrote the following: “It will be great to play the capital of the United Kingdom of Heavy Metal once again! Our performance at Sonisphere was just a spicy appetizer to the brutal dish we will serve you at the Shepherd’s Bush Empire this winter!”

Just last month saw the release of the newest “Arch Enemy” installment “Khaos Legions”, the Ninth full length studio recorded album from the Swedish metal merchants.

Arch Enemy consists of ‘Angela Gossow’ (vocals), ‘Daniel Erlandsson’ (Drums), ‘Sharlee D’Angelo’ (Bass Guitar), ‘Michael Amott’ (Guitar) and ‘Christopher Amott’ (Guitar).

For more information about the one off, exciting show in London please go to: http://www.myspace.com/archenemy/blog/543593402

(Picture courtesy of “True Cult Heavy Metal)

“Arch Enemy” performing the well known hit “My Apocalypse” live:


News: “Suicide Silence” release new Music Video.

By Jonathan Bradwell

Suicide Silence

Suicide Silence

Californian based modern death metal band “Suicide Silence” have released a new video for their song “You only Live Once” on the internet this week to correspond with the release of their brand new album “The Black Crown”.

The video shows the band being shot at whilst in performance live on a shooting range. Throughout, the video gets increasingly more violent, as does the music, until the final scene where the band is shot at with a missile launcher.

Speaking about their new album on their Official MySpace Blog, “Suicide Silence” wrote: “You can now pick up our latest album, ‘The Black Crown’, at Best Buy, Target, F.Y.E, iTunes, Walmart and more”.

Known for their somewhat shocking and visual approach to music videos, “Suicide Silence” is a five piece band fronted by renound vocalist ‘Mitch Lucker’. The new album will see guest appearances from ‘Jonathan Davis’ of “Korn” and ‘Frank Mullen’ of “Suffocation”.

(Picture courtesy of  “Rocksound TV”)
Here is the latest “Suicide Silence” video for the song “You Only Live Once”:



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