Oli Barton and the Movement is a London-based indie alternative rock band with a winning combination of talent and personality. They released their terrific debut single “Photograph” through Coke & Dagger Records in late 2016, and in April they dropped their brilliant new single “Sleeping With the Enemy.” The band deftly melds alt-rock with a bouncy psychedelic punk groove to create a complex song that’s equal parts catchy and menacing.
The four member band is headed by Oli Barton, who does the majority of the songwriting, plays guitar and sings lead vocals. Their hilarious Facebook page bio cleverly introduces each band member, so rather than attempt to paraphrase, I’ll just copy and paste as is for my readers’ enjoyment:
“Oli is an alternative musician who is the only modern artist to truly inherit classic British eccentricity. By utilising a unique sense of humour and an unequaled songwriting talent, along with the Movement [he] creates a sound that is personal yet anthemic, alluring yet pensive, and enjoyable yet thoughtful.
The Movement are: Guy Monk – Drums Guy is a strange fellow, ridiculously talented but crazily articulate for a drummer. He likes to spend his time going into toy shops and rearranging stuffed animals into a Circle of Life arrangement. Marco Paone – Bass Marco is the resident Italian Stallion. Famed for his close friendship with Gary Barlow, he is known to enjoy country walks and simply adores taking the time to visit zoos and pet the penguins. Ryan Wilson – Lead Guitar Apparently an admirer of fine wines, Ryan’s expertise are most credible playing lead guitar. He is said to have a pedalboard longer than the Great Wall of China and is also said to be the finest guitar player in the South of England. One of these statements is true.
The band has been playing lots of gigs in and around London over the past year or so, building a loyal fan base with their engaging performances. In an interview with Johnny’s New Music Lowdown Blog, drummer Monk said “Our gigs are just mental. We have amazing crowds. That connection on that night when its just us and the audience is extraordinary. We get into the crowd and pull fans up on stage. The vibe of the audience is contagious and it pushes us even further!” The band took some time off from performing while finishing up on the album and making the videos, but has several shows lined up in the coming months.
In the same interview, Oli said of “Sleeping With the Enemy: “I hate to say it’s about Trump because everyone’s making tracks about Trump.” My personal take is that the song is essentially about rampant duplicity in politics of late that always seems to leave people feeling like they’ve been screwed, and the biting lyrics get right to the point: “And I know what it’s like, to be stabbed in the back with a knife. It’s just my life, and I’d better learn to take it from behind. Sleeping with the enemy. Denied any sympathy. Sincerity will soon erode, when you’ve got nowhere to go.”
Musically, the song alternates between an aggressive, fast-paced beat and a slower, almost hypnotic cadence. Wilson and Barton’s guitar work is awesome, with lots of shredding and distortion going on, and Paone’s bass anchors the track without overpowering. Monk’s drumming is spot on, matching the bass line note for note, while Barton’s fervent vocals convey his sense of powerlessness and exasperation with the state of things. At the bridge, it all builds to a cacophonous barrage of heavy buzzing bass, distorted guitars, pounding drums and impassioned vocals.
The band plans to drop their third single “Kinky” at the end of June, and their debut album soon after. I’m looking forward to hearing both.
Candid is an up and coming indie band from Coventry, England who play ridiculously good alternative rock. Following up on their wonderful debut single “Moving On,”released in the fall of 2016, the four-piece just dropped an exciting new single “Rumours” on May 12. Making the music are brothers Rob (rhythm guitar and vocals) and Dan Latimer (lead guitar), Sam Baines (bass) and Ben Williams (drums). Hallmarks of their dynamic sound are catchy melodies, outstanding guitar work, wicked percussion and Rob Latimer’s commanding vocals.
“Rumours” starts off with a tasty little riff, then explodes with multi-textured guitars, guided by Sam’s throbbing bass and Ben’s rapid-fire drums pounding out the driving beat. Rob and Dan’s guitar work is exceptional, employing layers of intricate riffs and solos that give the track a complexity that’s incredibly satisfying to the eardrums. Rob’s vocals are beguiling as sings in earnest about people acting ignorant and spreading hurtful rumours: “So let ’em talk if they’re gonna, pick you up when they want to. And pass you up like a stranger, as soon as they’re done with you. ‘Cause all they talk about, is what they think about, the way we go about our lives.”
Candid’s sound has been compared to Catfish and the Bottlemen, both with regard to their music styling and Rob’s vocals, which at times bear a striking similarity in tone and delivery to Bottlemen lead singer Van McCann. I love Catfish and the Bottlemen, so it goes without saying that I would also love Candid – which I do based on just their two released songs. At any rate, similarities or not, they’re four talented guys who play some terrific music, and I’m eager to hear more from them soon.
I have a soft spot for young indie DIY musicians who put themselves out there, trying to get their songs heard, and it’s especially heartening when they’re talented. Such is the case with Liam B. Smith, a 20-year-old guitarist and songwriter from Loudoun County, Virginia. He released his debut EP Confessions in February 2017, and I’m glad he reached out to me for a review, because it’s excellent. Not only is the music terrific and lyrics compelling, the production is first-rate.
In the creation of his hard-hitting sound for the EP, Liam drew inspiration from Nirvana, Foo Fighters, The Struts, Goo Goo Dolls, Jack White, and “(above all) ONE OK ROCK.” On his website, he explains the meaning behind Confessions and how it represents his own conflicted feelings about making music:
“In this EP, I lean away from all of the pop-rock, modern influenced sounds I love and into my punk-ish and Nirvana-esque vibe. Confessions is both insecure and extremely audacious. It confesses my deep self-doubts about my life and talents (NOMANSWAR, Drift) and also confesses my elitist scorn for modern music culture (Crowdfunding). The songs are those of a semi-depressed, pessimistic artist. The EP is not meant to leave anyone feeling warm and fuzzy, but it is meant to hint at all of the greater things which (God willing) are yet to come.“
Liam wrote the songs, performed and recorded them, and produced the EP all by himself. His lyrics are pretty serious for such a young guy, as he addresses head-on the self-doubt and his feelings about the music industry that he described above. His strong guitar-playing skills are showcased on every track, and he has a fine voice that crackles with just the right amount of vulnerable intensity. But not least of all is his knack for arranging and producing his songs so that they sound every bit as tight and professional as a lot of music put out by seasoned artists working with big-name producers.
The first track “NOMANSWAR” starts off with slow electric guitar riff overlain by strummed acoustic guitar, as Liam mournfully sings “We had it all but we wanted more. Now we’re fighting nomanswar.” At about one minute, the pace quickens with aggressive hand claps and percussion setting the rapid beat, accompanied by robust electric guitar. Liam unleashes some blazing guitar riffs as he repeatedly laments “I don’t know what I’m gonna do.”
“Drift” is a great hard rock track loaded with shredded and distorted guitars, and lots of punchy drums. Liam sings about just throwing the towel: “Who knows when you’re coming or leaving? Who knows when you’re healing or bleeding?Who knows when you’re sick of the feeling? / Never coming home, never coming home. / I might just quit, check in and check out.” On “Crowdfunding” Liam employs furious guitar riffs to match the cynical lyrics he snarls: “And if you give me money, I’ll give you my soul. You can make me famous.”
If you purchase Confessions on Bandcamp, you’ll be surprised by a fourth hidden bonus track that suddenly appears one and a half minutes after “Crowdfunding” ends. Just goes to show that sometimes you gotta listen all the way to the end.
When I was approached a month ago by UK two-piece indie band The Diomedes about reviewing their debut album Traps, I gave a few songs a listen and thought ‘these are pretty good.’ But when I fully immersed myself into the album in preparation to write my review, I was bowled over by its intense power, complexity and raw beauty. An incredibly well-crafted album, Traps is an ambitious effort with 12 synth-driven tracks, and quite simply a brilliant work of musical art.
The Diomedes began as an alternative electro-rock studio project by friends David Myers, who plays drums and synths, and Mark Champion, who covers guitars and vocals. In their own words, they wanted to “create an album of soaring indie melodies with punk energy, soundscapes, riffs and howling synths.” This reviewer can attest that they succeeded and then some! They finished recording Traps in mid 2016, then decided they needed to become a live act and tour in order to promote their album. As with a lot of music that relies heavily on synthesizers, the challenge was recreating the level of detail found in the complex sounds of their recordings into their live performances. So, the guys employed a sampler, a custom built synth rig and a laptop, and started playing gigs in and around London in the Fall of 2016. Traps was formally released on March 17, and the duo are continuing to play live as often as they can.
The influences for their vastly textured sound, listed in the bios on their website and Facebook page, read like an extensive who’s who of alternative, classic and hard rock over the past 50 years. A sampling of names include such greats as Joy Division, Arcade Fire, Flaming Lips, Queens of the Stone Age, R.E.M., Chemical Brothers, Radiohead, Phillip Glass, Muse, New Order, Nine Inch Nails, David Bowie, Gorillaz, Blur, DJ Shadow, Bloc Party, White Stripes, Yeah Yeah Yeahs, Hans Zimmer, Deftones and INXS, along with old classics like The Beatles, Simon & Garfunkel and The Beach Boys. Whew! And when you listen to their music, many of those myriad influences can be clearly identified. I would add Peter Gabriel to the list as well, especially since Champion’s vocals at times sound eerily similar to Gabriel’s.
There is much to describe about Traps, but one of the things that most stands out for me is the exceptional flow of the album. Each track seamlessly transitions into the next, so that the momentum and power of the music is never lost nor even diminished in the slightest. The album plays almost like an alternative electronic rock symphony, as if Phillip Glass and Nine Inch Nails joined forces to re-imagine one of the great symphonies of Prokokiev or Rachmaninoff. This is not to say the music sounds “classical,” but rather that it employs nuanced melodies, intricate chords and complex instrumentation, all working in tandem to create a rich tapestry of sound that’s consistent, yet never feels repetitious.
Speaking of repetitious, I’m aware that a track-by-track review of an album can sometimes be a pretty dull affair. But this album is so remarkable that I feel compelled to touch on each and every track. So let’s dig into Traps to see what all the fuss is about. The instrumental-only “Open Arms” kicks things off with delicate but ominous-sounding synths that build until distorted, scratchy guitars and percussion take over. At around the two-minute mark, a pleasant synth chord is introduced, lending a more hopeful feel to the track before instantly transitioning into the exuberant “No Sleepwalking.” Sleepwalking is clearly not an option with the aggressive rapid-fire drumbeats and guitar riffs that are all but guaranteed to wake even the comatose. In his insistent gravelly vocals, Champion sings “So what we fighting for? An idea, that somewhere there is something more. So what we fighting for? For our lies, only this and nothing more.”
The guys inject a frenetic punk groove into the proceedings on the outrageously energetic “Masquerade.” This catchy dance track will have you bobbing your head and moving your hips within seconds. The lyrics speak to getting in touch with your true self rather than hiding behind a trap of your own making, which seems to be the overarching theme of the album: “Masquerade into a perfect storm. Shed existence to prove you were born. Hold together all the madness come. Find your feet and then find out where they are. Endings never hurt much at the start.” The upbeat vibe continues uninterrupted on “Gasp.” Shredded guitars, heavy percussion and some glorious synths – all set to a driving beat, make this an especially good track.
All hell breaks loose on “Tension Head,” one of the standouts on the album. This cacophonous tour-de-force starts off with the sound of a very big clock being tightly wound, and a loud distorted guitar making the sound of a motor that’s suddenly overwhelmed by an explosion of hammering drums and frantic guitar riffs. Champion screams some lyrics, then the tempo quickly shifts to a relatively calm and steady beat until the frantic riffs make an abrupt return, before shifting back to the previous steady tempo. Champion sings “I don’t know where I am, where I am. And I can’t tell you that I’m only looking for something.” His closing chorus is rather intimidating: “Don’t get along with me.” All this chaos and negative energy creates a strong sense of tension of course, living up to the song title.
The rather tense vibe continues on the instrumental composition “Part 2,” courtesy of Myers’ skillful mix of discordant and sweeping synths, including what sounds like rotating helicopter blades. Not missing a beat, we’re swept headlong into “Our Dying Glow” – two minutes and 49 seconds of punk rock goodness filled with gravelly guitars, tumultuous percussion and heavy buzzing bass.
Next up is the seven and a half minute long rock opera-esque “Tower.” This epic song has it all: a mosaic of dramatically soaring synth chords, strange sound effects, graceful tinkling piano (including toy piano), loads of crashing cymbals, and robust, multi-textured guitars, all set to an elaborate, ever-changing melody. Champion’s gritty, impassioned vocals rise and fall with the intensity of the instrumentation as he wails: “Higher and higher, climbing the walls. Higher and higher, harder we fall. / We’ll know what’s true, when they come back for you.” The song is so good that it’s over sooner than its seven and a half minute length would suggest and, with scarcely a break, quickly segues into the vitriolic hard rock “Spoiling.”
The ghostly instrumental track “Howl” would make a fantastic soundtrack opener to a horror film, but it also provides the perfect intro to “This Place is Electric.” The song is aptly titled, as it’s a feverish EDM romp that goes straight to the hips. This amazing song seems to represent one last fling before cold, hard reality comes rushing back. Boisterous, grainy synths, shredded guitars and pummeling drums rain down like thunderbolts until the gorgeous but rather melancholy six and a half minute closing track “Wishing Games” arrives – quite appropriately I think – upon sounds of distant thunder and falling rain. Champion channels Peter Gabriel more than ever as he emotionally sings “You are only ever right. You’re the one thing I cant leave behind. So no saving anticipation. I’m always boring, No pulling sense out from a truth or lie. So it’s good bye i’m ready./ Be careful with your wishing games. You’ll only have yourself to blame.” The bittersweet lyrics tie the album up quite nicely, yet seem to leave some things unanswered.
I’ve been featuring quite a few artists and bands from Canada recently, and The Elegant Devils are the latest. The talented four-piece rock band hails from Ottawa, Ontario and, like many bands, has experienced some personnel changes over time. Their current line-up includes Drew James (lead vocals, guitar), Rob Frank (drums/vocals), Josh West (guitar), & Josh Barkley (bass/vocals). They’re all seasoned musicians with divergent backgrounds, and each of them embrace their unique individual styles while coming together to create some really fine rock music that’s intelligent, powerful and often fun.
The Elegant Devils recorded their debut EP Guilty Pleasure in 2015, followed a year later by a five-track EP Live at Zaphod’s that contained some tracks from Guilty Pleasure along with a few new ones. Their songs range from hard-driving rock to poignant ballads, and always with deeply compelling lyrics that speak to the complexities of life, love and relationships. These guys write from their own experiences and, as a result, their songs come off all the more personal and heartfelt. In addition, their arrangements, instrumentation and production values are all first-rate.
Their strong musicianship is vividly apparent on all their songs, but especially shines when they really get rocking. On their harder rock tracks “Lie With Me,” “Divebomb” and “Loaded Gun,” they coax some amazingly intricate and formidable riffs from their guitars, while Josh Barkley lays down some heavy thumping bass lines and Rob keeps the pace with his assertive drums and crashing cymbals. Drew’s powerful vocals are always delivered with raw emotion, whether he’s expressing anger, pain or loving devotion.
“Divebomb” in particular is a real head-banger and one of my favorites. The thunderous shredded guitars are scorching hot, and when combined with powerful buzzing bass and pounding drums, nearly succeed in blowing out the speakers. “Loaded Gun” – a rock bombardment packed into a mere two minutes that fully lives up to its title – is also pretty awesome, but then, so are all their songs!
The band shows its softer, more romantic side with the gorgeous love ballad “Amaranthine,” about which the band states “We cracked open the heart of a devil and found a love song – a song written as a message to the person you love most in the world.”
In an interview with Jacqueline Jax on A.V.A. Live Radio, Drew explained the origin for Amaranthine: “[It] is as pure a love song as you can get. It was written as a wedding gift for one of my very best friends. He asked me to perform it at the wedding itself, and they had their first dance to the song. It was written at a time when I had almost given up finding a happy ending for myself. I had just been through a really bad break-up and while I was going through it, I was so happy to see that my friend and his wife were able to find something so…solid. So inspiring. I wrote Amaranthine to tell them how proud I was of them finding love, how scary it must have been for them to commit completely to another person, and to say thank you to them for giving me a reason to still believe in love when I had given up on it myself. Thankfully, the hope they gave me tided me over until I found my own Amaranthine. And so now, every time I sing it, I sing that song as much for her as I do for them.”
Take a listen to this beautiful track:
The Elegant Devils are in the process of writing and recording more songs for what will be a full-length album to be released later this year. In the meantime, check out their website, connect with them on Facebook, Twitter and Instagram, and subscribe to their YouTube channel where you can watch their weekly sessions. Stream their music on Soundcloud, Reverbnation or Spotify, and purchase it on iTunes.
There’s something special about guitar-heavy rock and roll that can’t be beat, especially when it’s fast, loud and in your face. Four-piece Boston band Quick Machine fill all those qualifications and then some! As their name suggests, they play ‘high-energy rock and roll fueled by dueling Gibsons, stacks of 100-watt amps and domestic adult beverages‘ (in their own words). Making the noise are Eric Jackson (Lead Vocals/Guitar), Richie Kidd (Bass/Backing Vocals), Shane Quinn (Lead Guitar/Backing Vocals) and Gia Love (Drums/Backing Vocals). (It’s very cool when a rock band has a female drummer.)
Quick Machine formed in early 2015 and, like several bands I’ve recently featured on this blog, spent much of their first year on the road playing gigs and building a dedicated and enthusiastic fan base before heading into the studio to begin recording their own songs. In November 2016 they dropped their debut EP Live Fast, a collection of four rousing rock and roll tracks guaranteed to have you on your feet and moving within seconds.
The EP opens strong with the exhilarating title track “Live Fast.” True to its title, the song blasts through the speakers with aggressive, shredded guitars and Richie’s heavy bass, signaling that we’re in for a wild ride. Gia pounds the hell out of her drum kit, while Eric and Shane’s guitars swirl and snarl with abandon as they lay down some formidable riffs. The song lyrics get to the point: “Live fast, die last, you keep on going ’til you can’t stop, you can’t stop, oh no.”
The awesome video for “Live Fast” shows the band performing the song in a dark industrial building, a perfect setting for the hard-driving track.
Not skipping a beat, “Devil in Me” keeps the high energy going at full speed, and the dizzying pace never lets up through “Steal My Soul” and “Skeletons.” Our ears are treated to more scorching-hot guitar riffs, buzzing bass and pounding drums. Eric’s powerful vocals add a raw, bluesy vibe to these rock and roll gems. In “Skeletons” he wails “Where is the fun in being revealed in the public eye? Nowhere to run, nowhere to hide, no, I have become my Mr. Hyde. I drink, smoke, lie and cheat. I’m everything you want me to be.”
This is a great EP, with no throwaway songs. My only criticism is that with only four tracks, it’s over too soon, leaving me wanting more. For now I’ll just have to play it on repeat, and wait for Quick Machine to quickly drop some more tunes.
Here’s a great live performance of “Devil in Me.” This is clearly a band whose music is tailor-made to hear live, and if they ever make it to L.A. I’ll be first in line to buy a ticket.
It’s back to the UK to shine my spotlight on the young singer/songwriter Dan Jeffries, who hails from Plymouth, England. He released his debut EP Urban Stories in 2015, and will soon be dropping his sophomore EP. I recently discovered Dan and his music, and in advance of the new release, which I will be reviewing later, I’m now featuring Urban Stories.
Before digging into the EP, here’s a bit of background on Dan I found on his Facebook page. He got interested in singing at a young age, and started playing guitar at 17. With no formal music education and just one guitar lesson, he found inspiration from artists he loved while growing up, especially Green Day, Guns N Roses, Bob Marley, Elvis Presley, Oasis, the Ramones and the Arctic Monkeys. Consequently, his music style can best be described as a hybrid of 90s alternative rock, punk, blues and old school rock’n’roll. Dan started out playing electric guitar, but has since gone back to playing mostly acoustic after friends suggested it would better suit the smaller, more intimate venues he’d been playing. He still uses his electric guitar to create riffs for some of his songs though, due to his special fondness for classic guitar played by legends like Slash and Izzy Stradlin.
Urban Stories features three outstanding tracks, with lyrics inspired by Dan’s personal experiences and feelings on everyday life. The first track “Fame and Fortune” immediately grabs hold with a thunderous riff and pulse-pounding beat. The electric guitar riffs and solos are fantastic, and a perfect match for the biting lyrics about a woman who’s bad news and uses men for her own gain: “She just wants attention, and making information, is it all just too good to be true? Growing up before you, Chasing fame and fortune, Do you ever feel dead before you’re underground?”
Green Day’s influence on Dan’s songwriting is clearly discernible on “Pin Up Girl.” The song opens with a pleasant acoustic riff then, one minute in, the pace quickens with an eruption of strong percussion and gnashing electric guitars. Dan’s vocals on this song even sound a bit like Billie Joe Armstrong – a good thing to my ears, as I’m also a huge Green Day fan. He sings “Going it alone, I don’t want another. It’s you I’m dreaming of tonight.” It’s a terrific song.
In the languid “Too Late Tomorrow” Dan seems to be singing about living life outside your comfort zone – “If you don’t break the rules sometimes, you start to lose your mind. It’s always gonna be too late tomorrow, go and do what you like. As long as it’s not hurting no one, no one says you gotta be polite.” – while also addressing someone who’s been careless with other people’s feelings: “You don’t strike me as the type to care. You’re mistaken if you think I do. You get away with all that you do. There’s a fucked-up situation waiting for those like you.” The track features more of Dan’s great guitar work.
To sum up, Urban Stories is first-rate and, based on a few demos I’ve heard, Dan’s next EP is going to be another solid collection of songs. Support Dan by following him on Twitter and Facebook and stream his music on Soundcloud and Spotify. Urban Stories may be purchased on iTunes.
I recently discovered the UK duo Restless Natives, and instantly loved their beautiful new song “Endless Possibilities.” Referring to themselves as ‘Renegade Audio Guerillas – a shadowy musical splinter cell created to enhance your mind with musical and visual splendour,’ Restless Natives are Dave Hubbard and Sam Simmons. Hailingfrom Lincolnshire, they play a distinctive style of music that melds electronica with alternative folk rock. In addition to their joint efforts in forming Restless Natives, they’re both accomplished solo musicians who also collaborate on different projects with other musicians. Dave is one half of funky electronic house music producers Peach Trees, while Sam plays in his alt-rock/shoegaze band The Loving Memory and is also a member of folk/punk band The Finest Hour. These are two busy guys!
With their latest song “Endless Possibilities,” the guys paint a dreamy ambient soundscape with lush, intricate synths, accentuated by a mesmerizing guitar riff. A strong drumbeat introduces us to the song, then a steady bass line takes over, providing depth and weight but never overpowering. A highlight is the delicate, beguiling flute that seemingly floats throughout the track, lending a bit of an ethereal vibe. The guys’ enchanting harmonizing vocals complete the package, making for a lovely, intensely satisfying song. Have a listen:
Support Restless Natives by following them on Twitter and Facebook, and subscribe to their YouTube channel. Their music is currently only available for streaming on Soundcloud and YouTube, but they plan to distribute their music more widely in the near future. Be sure to check out their other music projects too.
I seem to be drawn to the South Florida music scene, because here I am reviewing my fifth Miami-based band in less than a year. I’ve previously featured SunGhosts, Above the Skyline, Dyslexic Postcards and Xotic Yeyo on this blog, and now I turn my spotlight on a couple of talented musicians who call themselves RAKER. Specifically, RAKER is Michael Sarasti and Andy Rodriguez, who play an intriguing style of experimental indie rock, and they cover all aspects of their music and its production. As stated in their Twitter bio, they “deal in guitars, pedals, machines, buttons, and songs.” Sarasti plays guitar and is lead vocalist and Rodriguez plays bass and provides backup harmonies on their songs.
The guys just dropped their gorgeous new single “Gospel” in late December 2016, and I was smitten the moment I heard it. The song immediately grabs hold with a mesmerizing guitar riff, accompanied by gentle percussion and smooth synths and set to a languid beat. Andy’s layered bass loops beautifully throughout, and Mike’s vocals are beguiling and heartfelt as he sings of trying to salvage a troubled relationship: “Oh baby don’t you waste no time. These are the trials that bind our kind. / Just when you think it’s all an end, we’re on the rise.” The instrumentals, vocals and arrangement are all first-rate, making for an incredibly pleasing, well-crafted song. Take a listen:
I’m back in South Florida to shine my spotlight on Xotic Yeyo, a three-piece band that plays a fun and funky style of psychedelic rock. And let’s face it, you just gotta love a band with a name like “Xotic Yeyo.” Formed little more than a year ago (in October 2015), the band consists of Stu Sauce on guitar and lead vocals, Rod Reiter on bass and backing vocals, and Cody Orange on drums. Their upbeat eclectic sound is influenced by funk greats like Parliament, Curtis Mayfield, Average White Band, Prince, Gil Scott Heron, Phish, Primus and Jamiroquai, among others.
The guys dropped their debut EP Down 2 Funk in November, a collection of three infectious tunes guaranteed to funk you up! The artwork on the EP sleeve is a good indication that not only is the band’s sound pretty hot, they also have a playful attitude. The first track “Trip the Lights” is a six and a half minute long funky jam session. I love Stu’s wobbly distorted guitar solo that continues throughout the song, helped along by Rod’s funky bass and Cody’s light percussion that complements, but never overpowers, the track.
Xotic Yeyo lays it all out about who they are and what they do in the delightfully funky gem “Mothership.” The lyrics are so good I have to include a few stanzas:
“First time I ever set foot on the Mothership, jamming hard at the bass was the rapid responder – Ring Cody Orange for a drummer. So funky – swear this brotha’s pandemic. Radioactive to the hips and I hope you all catch it. Cause we got that dancing beat that goes on and on and on. Abducted then we’re gone.”
They call me Stu Sauce. Had vision in my verses – some call the blessings a chorus, some call the verses curses. Why people of the planet want to stay or escape, humans feeling alien to their alien race.
So I sought some lifeforms off of the inner-coastal. Like the vice of Miami, we’re called Xotic Yeyo. Taking over your TV, taking over the radio, taking over your airwaves beyond the international. We funk it up intergalactic, and we want the world to know it. Our style is the freshest, and our fresh ain’t ever frozen. The minute that you’re in it and the moment that your dancin.”
The band’s funky style is in full swing on this track, with Stu’s deft guitar riffs in perfect rhythmic harmony with Rod’s funked-up bass. Stu’s quirky, rapid-fire vocals inject a playful hip-hop energy that makes this a hot, compelling tune. The song’s video shows the band performing the song and cavorting with a few friends, clearly enjoying what they’re doing and proving that these guys are all about having fun and wanting their listeners and fans to have fun too.
“Disco Zombies” is a hook-laden funk fest, with great guitar riffs and jazzy grooves set to a catchy dance beat. There’s no way even the biggest wallflower could hear this song and not want to dance!
To learn more about Xotic Yeyo, check out their website. Follow them on Twitter and Facebook, and subscribe to their YouTube channel. Stream their music on Spotify and Soundcloud, and purchase it on their website, iTunes or other music platforms.
ECLECTIC MUSIC LOVER 