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Coventry, Kenilworth, Leamington Spa, Rugby, Solihull, Warwick, Stratford and Warwickshire

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'The Life I Had 'Til Now' EP by Little Girl Screaming

Review

One of my favourite local bands (and I am far from their only admirer) has long been Little Girl Screaming, a band I came to via their incendiary live performances and subsequently their excellent recorded material: John Rivers at Woodbine Studios doing a marvellous job to reflect their power & edge. I was so pleased that their song "Bit Late for a Conscience" (originally released on the 'Pretty Noise' album in 2007) appeared on the inaugural ‘Hot Music Live Presents' album but sadly despite my considerable enthusiasm, you won't find any previous reviews of them by me in the magazine as they've neither released a record nor played locally in the years I've been writing here.  2008's ‘Two Butterflies' EP being their most recent release.

Thank goodness the wait is finally over as they have unleashed their ‘The Life I Had 'Til Now' EP on us today. Reunited with John, they were fortunate to get their sessions at Woodbine complete before the lockdown & it's tempting to say that the wait was worth it, so strong is this set (I was fortunate enough to know that it was on its way as John had conveyed his enthusiasm to me some time ago).

It's like they've never been away frankly. Each track hurls itself off whatever device you are playing it on, shakes you roughly by the throat & then stays in your mind forever.

One personal delight was the inclusion of long time live set favourite "Am I Not Here, Can You Not See?". This is archetypical Little Girl Screaming: melodic yet punky, utterly memorable and above all lyrics with a point: ones which frankly anticipated the #MeToo debate by quite a number of years. (They did in fact record this song on ‘Two Butterflies' but I think this version really adds considerably more venom).Vocalist/lyricist Tree pulls no punches here: not even a bit of shadow boxing. This is for real & it deserves a wide distribution. Men listening should be ashamed at what they are being called out about.. Somehow the band & John not only pull off the feat of producing a version every bit as dangerous as their live performances, it actually appears to be played at even faster a rate than I remember it. Marvellous.

Kicking off the EP is "Pictures" (check out a video for this song, with a nice topical NHS plug, at   https://www.facebook.com/chris.kendall.79/videos/10219684999329526), another fine addition to their repertoire of a song with catchy pop pulling power backed by insistent & compelling playing: intelligent lyrics (as always) setting us questions almost as uncomfortable as on "Am I Not Here, Can You Not See?", in this case on how to deal with the passage of time. If the latter had faint echoes of Buzzcocks jamming with early Altered Images, "Pictures" restrains the rush slightly & its menace is all the greater for it. Until of course they press the accelerator and off it goes again.

The curiously titled "What About the Cats?" (don't worry, it becomes clear) is again a song which doesn't shy away from the difficulties of life. Again passages of noise & less noise, fast playing/singing & less fast, alternate almost too quickly to adjust to as the story of a disfunctioning relationship reaches its terminal phase. Tree doesn't exactly hold back on conveying senses of frustration nor displeasure at the consequent situation. Presumably to spare the blushes of family listeners, you actually get two versions of this song on the EP, one with less explicit articulation of her thoughts on the matter.

 

"Watch Me Float' sounds like its title might lead you to expect  & actually hits some Floyd moments which came as a surprise (though in a good way: I would much rather be surprised by a band however much I like their signature sound) until it subtly builds into a much bigger soundscape (and boy does it get big. You start wondering just how far the band & John are actually going to take it).

Little Girl Screaming at full throttle are an awesome band (regular readers will know my concern that the adjective is used far too lightly in music reviews & I very very rarely use it: it applies here) & I cannot wait to see them live again. May that day be soon. However, in no way do I wish you to take away the impression that their considerable vocal & instrumental heft lacks subtlety nor nuance. The songs are built upon excellent musicianship and once you shift your attention from the very ear catching words, repeated plays reveal the intricate arrangements: not a note is wasted & well crafted parts dance round each other, usually with most memorable riffs & lines, playing with each other & certainly never repeating anything for too long, whether its volume, tempo nor series of notes. And John of course allows us to hear all this clearly through the wall of sound.

Let's face it, they've been away too long & now they are back let's embrace them & support them.

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"Darling" by Batsch

Review

It was April when I wrote about the "Colour of Love" single by Batsch in the magazine.

Three months on, defying lockdown, they are back with "Darling" (though in fairness it was recorded before the situation clamped down).

The recording took place at the Tin and in addition to members Mason Le Long, Joe Carvell,
Matt Rheeston & Andy Whitehead, it features Lætitia Sadier guesting on vocals and Pink Shabab on bass.

Less ambient in tone than its predecessor, the song has the edginess so characteristic of their work: an unsettling arrangement which never seems comfortable settling for any length of time. If anything it evokes at times what ‘Sergeant Pepper' might have sounded like if recorded by a garage band or at least one with a far lower budget than the band who actually did it. A psychedelic summer afternoon in Coventry. The lo-fi sensitivity evident in the cover art is reflected in the arrangement (not that the production itself is anything less than excellent) and offers a stark rawness which adds to the authenticity of the sentiments expressed. Charmingly laid back in tempo and mood, the band subvert this with anxious keyboards & drums & a menacingly slightly indistinct additional vocal (in French). If you begin thinking that this is going to be an easy listening experience then Batsch shake you out of your complacency. Good for them.

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"Wayward" by Katherine Abbott

Review

After the pleasure at being able to review "Lullaby For Lucas" by Katherine Abbott last month, I'm delighted that so little time has elapsed before being able to do so again, with her latest single "Wayward" which came out yesterday to similar levels of acclaim as its predecessor. If I spoke previously about an outbreak of jaw dropping, how gratifying that on this occasion I can tell you that ‘American Songwriter Magazine' have already picked up on "Wayward". As they put it "with a very subtle arrangement, gentle acoustics weave layers around Abbott's effortless voice and angelic harmonies, creating a melodic, ethereal atmosphere"

Produced by Katherine's long-term producer and engineer, Jonathan Fletcher, in his studio in Stratford-upon-Avon (he also plays the sublime & subtle guitar solo), the song fits in snugly with "Lullaby For Lucas" in terms of subject matter: each turns around a sense of journeying, both literal (it was composed on a single car journey from the Lake District to Birmingham, though I hasten to add that she was a passenger rather than driver) and in the sense of self discovery & consequent transformation. If the earlier song projected this onto a third party, then on this occasion the first person aspect is more prominent.

Although the overall premise is ultimately positive, the journey (as far as the song is concerned) is as rocky & winding as real voyages in this world always are. Founded upon the dislocation of the end of a relationship & the relocation to a new part of the country, the landscape manages to encapsulate many features from the concrete to the metaphysical: crossroads, choices, the sense of freedom, fantasy & pulling that back into practicality.

As I said before, Katherine writes intricate multi layered songs which pack a lot into such a short space of time (though I note with interest her assertion that "it was one of those blessed and rare occasions where I don't have to put a lot of thought into the writing process and the words and music unravel from me in one go without having to coax them out so much" as that certainly isn't what comes across: it just sounds so well crafted). This is one of those records repeated plays are essential for in order to appreciate just how much is going on in there.

Perhaps more overtly folkish in sound than last time, this song (composed in an alternate tuning), "Wayward" also has those jazz inflections too, but generally is on the ethereal side of fragile with the arrangement held back with admirable restraint & taste, exposing an equally understated vocal which is all the more effective for being so, with less of the "breathy" style I cited before.

Katherine aims to tour in 2021 which let's hope happens (I intend to catch her) and has a plan to release more songs beforehand which I thoroughly look forwards to.

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14 Records

Feature

In my most recent article, I focussed on how local business Dr.Um were emerging from the restrictions of the last few months. In that piece, business owner Victor Guillamon talked about positives he was taking from the local music scene, one of which was how the large rehearsal room at 14 Records was now being used again.

Consequently, it seemed an useful idea to ask 14 Records owners Matt & Gemma Waddell about how the situation was looking from their perspective

Quite apart from the detail they gave me, what pleased me was their optimism. One could be entirely forgiven for feeling frustrated over the lack of opportunity to play, teach, record etc as one normally would, let alone suffer the practical issues of lower business & income. In their case however, they are buoyant over the developing possibilities & are clearly enjoying the challenges of finding new ways to work with musicians: after seeing their business of ten years being threatened by having their premises taken from them, overcoming that & moving on, the current set of circumstances is to them much more easy to deal with they told me.

As Victor reported, their large rehearsal space is open & already in good use. The space is entirely suitable to permit bands to work together at safe distances & the room is steam cleaned after each session. The smaller rooms obviously are not as appropriate for groups but if you are say a duo, do contact them as it should be possible to accommodate you.(As with all their services, please contact them via the details you'll find on https://www.14records.net)

 

Matt has been busy on production projects which do not need artists to be present: mixing, mastering etc and producing using material sent in online. However recording in their studio has recommenced: principally at the moment solo artists to work around the social distancing issue & as entry from outside is direct into the (steam cleaned) studio & Matt isolated in his booth, no contact is possible. Artists such as Bob Cooper, Ross Darby & Abz Winter (the latter as part of an exciting project to be revealed) have already recorded there under the current regulations.

Even more to my (pleasurable) surprise, 14 Records managed to create a video for The Session's "Denver Hill" single during lockdown & providing artists are looking for an outside shoot, this is something else they are excited to be back doing.

Tuition clearly brings its own issues & like Dr.Um, 14 Records have successfully tried online teaching and have now found ways to appropriately deliver on the premises, which is clearly a boost for the many young musicians they had been working with. Please do discuss your needs with them.

One of the reasons 14 Records can feel optimistic about moving forwards is that they have certainly not put all their eggs in one basket: their diverse set of activities has allowed them to work during lockdown & be able to progress the various elements at different speeds as needed coming out of it. Some work, for example helping with social media & online presence, or commercial composition was ideal for the last few months. Others, such as providing PA services for festivals etc will necessarily have to come back on stream later on, probably after all the above is back up & running near full capacity.

Finally, Matt & Gemma also help people write material: ranging from artists wanting a hand with songs to those who are not musicians but want to create a song for personal reasons & can supply the content & theme but need someone to turn that into lyrics & someone to set it to music.

As I say, they are (in their own words) "glasses half full kind of people" but like Victor they have their concerns about how musicians can reboot their careers & above all about suitable venues can survive closure & start operating again under the very necessary systems to protect the health of musicians & music lovers.

In the meantime they tell me that their message is "we're still here, waiting for you when you are ready: it will be nice to see people". Their main regret is that the customary 14 Records cup of tea & biscuits is on hold for the time being.

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Dr.Um

Feature

Back in March, I shared some of my reflections, fears & thoughts about the impact of lockdown on the local music scene & more or less left it on a point of "we'll have to wait & see". Since then I have tried to report such stories as are possible under the circumstances, largely releases of music which we are fortunate to have had recorded before, or occasionally during, the restrictions, plus a few articles on the responses & wisdom of artists.

The general intention was to focus on the positive: the continuing quality of local music & the perspectives of those who could add insight to what many were experiencing. I felt little point in merely reciting negatives which are pretty much known to & understood by many, since by so doing, anxieties (which impact on so many, and in some cases to health threatening degrees) are stoked.

Today I'm reporting on how one music centred business has been coping & how its owner sees the landscape as restrictions ease.

Now situated at 18 Regent Street in Leamington, Dr.Um actually opened on 29th May 1999 around the corner in Portland Street: or rather beneath the street (a position which became untenable in wet weather). Mathematicians will have worked out that had it not been for lockdown, the business would have celebrated its 21st birthday last month: a huge pity, especially to one lucky enough to be at its 10th birthday party in 2009 at the Bridge Theatre when Doug Wimbish & Will Calhoun of Living Colour presented their project "Head >>Fake": you can imagine how exciting that was.

As well as selling drum kits, parts, accessories & other percussion related items to everyone from children beginning to play to top flight professionals (many of whom have been known to drop in when playing locally & many a gig has been saved by Dr.Um being able to provide emergency assistance), the business is also the thriving hub for a great deal of tuition for players of all levels.

Dr.Um himself, the shop's founder & proprietor Victor Guillamon (a highly talented & experienced drummer whose own live performances come far too infrequently for this writer) was telling me today about how this tuition has been the morale booster for him & his team since March. Teaching online, they have managed to carry on this side of the work to great effect & he is delighted at how well it has gone & particularly the feedback, especially from the parents of younger players. He feels that it has been a really purposeful way of spending what would otherwise be a highly frustrating time & has boosted the well being of those being taught (and teaching). Rather to my surprise, apparently drum exams have taken place both online & more recently at local venues & several of his students have passed onto new grades: which again is uplifting for all concerned.

With the easing of restrictions, Dr.Um are looking forwards to restarting lessons on the premises, so if anyone wants to book themselves in, or book online lessons in the meantime or who wants guidance on taking exams, they should contact Victor now at www.dr-um.com

Sales have been less easy to adapt given the preference of potential customers to browse in a physical shop, but the good news is that the shop has reopened on Fridays & Saturdays (subject to responsible practice under current circumstances) or if you can't attend on either day, Victor will meet you there by appointment. For those unable to get at all for whatever reason (and currently they can be so many), you can email him and request an order of anything from new kits to the sticks & heads which are getting broken & worn during all the practice people are doing.

Victor is one of the most optimistic of people but as we turned our discussion to the future even he expressed concerns that the lack of clarity & the almost total uncertainty over a timetable for restoration of live music was one of the most difficult aspects for people to get their heads around: be they part of the business aspects, the performers or the audience members: he was reluctant given this to forecast when gigs might resume.

Nevertheless he picked out several positives from the past few months to share with our readers: the progress of students as  noted above, key moments such as the reopening of the large 14 Records rehearsal space and some of the regular live streams:  he particularly cited those of fellow drummer Kev Stanley & of Fi Smart & Alex Thompson (the Jazz Apples).

So what is Dr.Um's prescription? He urges people to keep up their practising, expanding their repertoires and skills both to enhance their sets when gigs start again and in the meantime to get a sense of fulfilment & achievement in the enjoyment of simply playing.

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David Ellis

Feature

Dave has a very distinctive sound of his own. A very accomplished musician and producer. Dave lives in Leamington Spa and is a sound engineer for a local games company. 

He started playing guitar in his late teens "a late bloomer" he says. But he wrote and sang songs before he could play them. He is a fan of The Beatles, Neil Young, Elliott Smith and Radiohead. 

He is with Greg Freeman, Anthony Freeman and Steve Cartwright in a band called Blurtones, plus he is in Crime:Seen and formerly 8 ball. He has previously released 2 singles plus a 10 track album called The boy who cried wolf , he is on Facebook and Instagram.

On this album The boy who cried wolf, there is a track called "wake up smiling" which Dave composed and produced at his home studio and this song was picked to go on a CD of artists who sounded Paul McCartney- esque. This CD was given free on an issue of Mojo magazine dedicated to Macca and the comments on David Ellis was 'one to watch'; this was in 2013 .

EP 5 tracks The Return of the tide written produced and recorded by David Ellis at his home.

Track 1. The Return of the tide
This track flows like the tide and your drawn in to it as to the moon, crashing waves, stormy nights all in the lyrics . Very haunting melody and harmonies.


Track 2. Don't touch the fire
Keep the flame burning , don't touch the fire burning inside her but don't put her fire out. Lovely guitar solo's in between fine lyrics  including embers an inferno and sparks. And smooth vocals


Track 3. On the side
it's a tale of change and being on the side of the angels. A Ballad about life being easier how it was.


Track 4. Tube song
A quick start straight into a great bass riff that plays throughout and a more uptempo song . Great lyrics , keep on travelling Southbound , as long as we stay on the ground. Dave is as comfortable with acoustic as he is with a full rock out number like this one which is my personal favourite


Track 5.These Monsters
Superb guitar, drums and piano in the solo parts between lyrics , a tale of a heavy heart and monsters under the bed , very gentle smooth vocals

As you can see I am not a musician but love music and David Ellis has a very distinctive voice and writes awesome lyrics and songs you can connect with alongside his great talent as a guitarist and producer .

This Digipak CD by David Ellis with Photography by Pete Ochoa and Firewings is available on Bandcamp and all usual streaming services as from now. A collection of songs that all started out as a challenge for a songwriting group he's sometimes part of. He dusted them off during Covid lockdown and they have evolved into this, quoted from David Ellis .


Just an added note that Dave can sing any covers of songs as well as his own and appears at some open mics either solo or joining in with other musicians. He also does annual gigs in Croatia.

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"Hour Glass" by Ian Todd

Review

Keen readers of this magazine will recollect the February feature  of Ian Todd & even keener ones will have spotted his name amongst the details of reviews of releases by Shanghai Hostage, of which band he is a member. You can also find their track "Nomad" on "Hot Music Live Presents Volume Two" & a solo track of Ian's, "Citizens of Nowhere" on Volume Three.

This prolific musician has not been letting lockdown clip his wings and apart from some live streamed performances (to be found on the Facebook pages of "Hot Music Live Presents" and the Coventry Culture Show), he's been creating his latest solo album, being one of those artists fortunate enough to be trapped with recording equipment, being able to use it & not being overly reliant on fellow musicians (though of course Shanghai Hostage recordings have been less easy to do, with the magnificent exception of May's "Mr Motivator" single, created with the participation of just Ian & fellow internee Sophie Hadlum).

These sessions are now on hold awaiting the overdubs by others he needs to finish the album, so he has created an hour long ambient piece, entitled, appropriately "Hour Glass" whose accompanying video (by Fred Cox and Diana Stefanescu of Videoblocks) can be accessed at: 

https://www.facebook.com/mriantodd/videos/267849924463980/

 

Reviewing ambient music is not something I do often (my last effort in this direction was a live review of Toby Marks & Andrew Heath last April) and whether I have the right vocabulary to approach "Hour Glass" is debateable: Ian deserves better than my throwing clichés about the genre at it. I should imagine that the theme is Ian musing upon the possibly differing perspectives of the passing of time during current circumstances (the video features a titular hour glass as a prominent motif & time lapse shooting is another key feature). Other hints as to his thinking include his tagging the piece as for meditation and his suggestion being "I recommend putting on some headphones or proper speakers and sit back in a relaxing place." I should infer from this that the track is intended to impact upon us: it is not an exercise in composition but an interactive tool to aid our well being & benefit us. With that in mind, I first listened to it as he advised and on a purely subjective level I can report that it certainly worked for me. May it do so also for you. I should be failing as a reviewer if I didn't report too that his other tag is "#hippymusic": which it certainly consistent with the Shanghai Hostage approach where humour & serious points intertwine closely: to particularly humane effect, as we have with "Hour Glass". Moving onto the objective, the track is full of variety & frankly surprises. I imagine it is intended to be a succession of movements reflecting differing periods of time & emotions within the larger framework. Hence musical differences are actually quite dramatic: one of Ian's skills is managing the transitions between them so seamlessly. Traditional more laid back sounds, which is what I was expecting to be honest, sit in there with jazzier episodes & rather to my delight, dubbier sections. It will keep your attention throughout the hour, so don't automatically assume it will send you off into a state of mindless bliss (let alone sleep). This is mindfulness music when we need it most.

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"To the Sun" by Henery

Review

One of the many disappointing aspects  of lockdown (and I write this on a day when I would otherwise have been anticipating Leamington Peace Festival & reviewing the acts I should have seen there)  has been loss of momentum of artists' career arcs. Far too many have had their's stalled by events just as acceleration was clearly underway. I hope through the pages of this magazine, "Hot Music Live Presents" and social media we have tried to keep their names and talents within public awareness.

The most unfortunate examples of this must be artists right at the start of their careers: not necessarily hopefully those who were slowly building writing & performance skills but certainly those at crucial moments. One obvious example has been singer-songwriter Henery whose superb collection of originals I have long been telling you about & whose debut album recorded at Woodbine Studio with John Rivers will showcase many of them. However his debut single from these sessions "In the Moment" came out (and was reviewed) just before the cessation of live music & the follow up "Little Brave" was released in April. When he should have been playing all this material live to promote it, the opportunity was denied him….. Now the third (and final) single from the album, namely "To the Sun" is released today within much the same environment.

Crafted to same excellent standards as its predecessors, "To the Sun" manages to attract your attention from bar one as they each do: Henery & John clearly pay great attention to detail in the recordings yet without making the song feel contrived: it swings along very naturally, but not a second is wasted nor filler. Funkier than the two earlier singles, the song does seem to have (pop) chart appeal & potential & is danceable in a way they did not necessarily aspire to be. Little shifts in dynamics keep your attention & every time the mood swings towards the anthemic, he neatly reins it in before the boundaries of taste are exceeded. As with the others, the musicianship is both impeccable & imaginative.  I assume the tone & title mean that Henery had this down as a "summer song" all along, but as with several other recent releases, I can't help but hear resonances of the current state of affairs within it: a song of liberation, Henery sings "I want to feel free again". He speaks for us all.

We can look forwards to Henery's album being released in due course (no virus can possibly detract from its qualities) and I am confident we'll see him performing the songs with the same warmth & commitment I have reported on from when he was able to play. I hope we can pick up with his career where it should have been back in the Spring of 2020 and judge & enjoy his songs on their considerable merits. Momentum & seizing the moment have traditionally been so vital to launching careers (and let's not forget that the context for these observations is Henery building a new solo career after the considerable critical & popular success of the Ellipsis) but traditional ways of doing things have had to set aside in recent months so with luck the pause will not, in the longer term, put him off his stride.

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Old and gold

Venues in Lockdown and before: THE BUCK AND BELL AT LONG ITCHINGTON

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BEFORE LOCKDOWN:Owners of this pub are Mr Peter Evans and Mrs Cheryl EvansPete is from the Southam area attended Wolston High School.

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"Fire" solo video by Izzie Derry

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I do like being taken be surprised by music (to be honest I'm not sure I enjoy reviewing music which fails in some way to do so) and I hope I am ...

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"Lullaby For Lucas" by Katherine Abbott

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Another first for me: my debut review of Stratford singer songwriter Katherine Abbott & my apologies as I'm arriving quite late at this ...

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"The Cold Light" by The Silver Wye

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Last night was another Full Moon (and a strawberry one at that, with an added penumbral lunar eclipse) and that these days means a new single ...

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"Live at the Melting Pot" by TwoManTing

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When I reviewed the current TwoManTing single "Gbangbaode" for you last week & at the end advised you of their upcoming live album, I really ...

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"The Other Side" by Rob Halligan

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"The Other Side", the new single by Rob Halligan, will be released on all major download and streaming services on June 22nd but don't worry, ...

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"Resuscitate Me!" by Katie Walters & Ace Ambrose

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This review  concerns something that manages simultaneously to be compassionate, passionate, challenging, exciting and accessible & above ...

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"Live in London" by Nizlopi

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This is an interesting one: with quite a nuanced tale to be told.

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"Icarus" by Antonia Kirby

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Today I'd like to share with you the latest single (out today) by Antonia Kirby whose"Labour of Love" appears on ‘Hot Music Live Presents ...

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Make you mine

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Make you mine, the first solo release from Dean Dovey, is a big, big romantic ballad.

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LEAMINGTON ASSEMBLY MEMORIES - PART 2

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The lockdown has given me the opportunity to have a second look back over my favourite gigs/memories from the Assembly, along with a selection of my ...

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"Open Your Eyes" by Bethany Dyson

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Did you enjoy the sumptuous, popular & acclaimed track "Just You & Me" on ‘Hot Music Live Presents Volume Three'?  If, like me, ...

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"Be Gentle" by Chloë Boehm

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Chloë Boehm has very rapidly gained a highly positive reputation on the local music scene: it is mere months still since she first acquired a ...

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"Gbangbaode" by TwoManTing

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I last reviewed TwoManTing for this magazine in a live context back last November & I trust you'll recollect my sense of enjoyment of that ...

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"Streets of London" by Wes Finch

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Lord knows this lockdown life can seem like "Groundhog Day" when you are inside it.

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"Dig a Little Deeper" by Mister Keith

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I feared that my reviews for "Hot Music Live" might dwindle during the current situation, with no live performances on which to report & the ...

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"Isolation" by Street Arts Project & Friends

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You might very well like to check out today's release of a charity single appropriately called "Isolation" by ‘Street Arts Project & ...

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Christopher Sidwell of Crokodile Tears and The Trees

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HOI POLLOIChristopher Sidwell of Crokodile Tears and The Trees Lyricist, musician and Artist What a very talented performer Christopher Sidwell is.

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'Smooth Groove' EP by Kev Stanley

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As I said the other week, being surprised as a reviewer is part of the pleasure of doing it.

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"Flamingo" by Lemon Boy

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A few weeks ago, on the recommendation of Callum Ward of ‘Hot music Live Presents' artists Free Galaxy, I reviewed the Kenilworth based ...

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"Shadows on the Wall" by The Rising

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Reviewing obviously excellent artists is always a pleasure, but there is an extra frisson in writing about a release or performance which takes even ...

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‘Shivoham-Lockdown Lullabies' by Satsangi

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Well life under lockdown continues to evolve doesn't it: even, or perhaps especially, our musical life.

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"Mr Motivator" by Shanghai Hostage

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Just as the initial curtailment of live gig opportunities saw many of the artists we report on in "Hot Music Live" upskill themselves to be able to ...

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'Hindsight' by Year Without a Summer

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Thankfully despite the complete lull in gigs to review, the flow of releases continues (though I suspect we are going to reach a point when material ...

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"Denver Hill" by The Session

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It was a pleasant surprise to learn that one of our area's most dynamic & exciting bands The Session have managed to unleash a new single ...

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"Miura" by Souki

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All credit first of all to "Hot Music Live Presents" artist (and one of the key people whose idea that project was) Fall Girl (Michelle Sciarrotta) ...

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"Colour of Love" by Batsch

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It was virtually a year ago that I wrote very favourably about a live performance by Batsch (who are Mason Le Long, Joe Carvell, Matt Rheeston & ...

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"Just My Luck" by The Silver Wye

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As with their last single, the brooding & allegorical "The Getting Place", The Silver Wye are releasing their latest track "Just My Luck" to mark ...

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"Square Times" by Lemon Boy

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One great thing about "Hot Music Live" is the sense of community & so I'm indebted to Callum Ward of "Hot Music Live Presents" artists Free ...

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Hot Music Live Presents Volume 3

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'HOT MUSIC LIVE PRESENTS' VOLUME THREE - OUT NOW!.

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