Yet again showing themselves the puppeteer of hips and funk in induced revelry, UK based indie poppers WE-ARE-Z release new single Easy this month, a song that pulls you to your feet to share moves probably best kept under wraps. The song is a virulently persuasive little number, something for ears to wear and inhibitions to depart for from a band making a habit of turning the world into an eager dance-floor.
Formed in 2012, the London based Anglo/French quintet merge individual experiences of playing with artists such as Beyonce, The Waterboys, Pharell Williams, and James Morrison with inspirations ranging from David Bowie, Serge Gainsborough, Talking Heads and Blur to The Clash, Devo, XTC, and Sparks. The band’s debut track Airbrush sparked potent interest in 2014 though fair to say Walkways the following year was the real attention grabber. With its success backed up by tracks like Knucklehead and a live presence which leaves everyone out of breath, you might say that WE-ARE-Z and their songs have become one of UK pop’s eagerly anticipated adventures.
The new single pulsates into view, its initial electronic tempting soon joined by rhythmic throbs and vocal bait. The ripe coaxing, speared by the purposeful swings of Guillaume Charreau, increasingly grows as sultry hues caress ears, their lures aligning with a just as potent melodic and harmonic drama. In no time body and imagination are lost in the flirtatious and riveting theatre of the song with the dark rhythms, led by a gorgeously throat bassline cast by Marc Arciero, alone just irresistible. The keys and guitars of Clément Leguidcoq and Drew Wynen sparkle and dance as they entangle with each other around the ever welcoming and tenacious vocals of Gabriel Cazes, he like the ringleader to a band of sonic mischief makers with a delivery which simply lures the listener deeper into the party playing with their ears.
As with previous songs from WE-ARE-Z, our thoughts bring the likes of Shriekback and Franz Ferdinand coming to mind but also there is a touch of Sparks and Talking Heads to a song which, at the end of the day, really only sounds like another highly enjoyable and rather naughty WE-ARE-Z soirée.
2015 will be marked by many things for different people in regard to music, and most likely amongst them will be not only the introduction to UK indie rockers Sugarmen through debut single Dirt in April but equally its successor, the rousing infection that is Plastic Ocean. The band’s new song is a tenacious dance of jangly guitars and eighties spiced melodies with captivating energy and joyful enterprise to match, it all making up confirmation of the promise and qualities shown in its predecessor.
The year has been a potent adventure for the Liverpool quartet. Between the singles, the foursome of songwriters/guitarists Luke Fenlon and Chay Heney, bassist Tom Sheilds, and drummer Sam McVann have played two Hyde Park shows with The Who and Blur, whilst amongst their own shows they have shared stages with the likes of Sleaford Mods, The Bohicas, Hooton Tennis Club, Deer Hunter, Metronomy, and British Sea Power. The release of the Mick Jones (The Clash) produced Dirt was a attention grabbing spark in the year too and now matched by the voracious adventure of Plastic Ocean.
The single instantly hugs ears with a spicy melody from within the jaws of a groaning bass and crisp rhythmic jabs. As quickly that eighties flavouring springs its welcoming lure, the song like a mix of King Trigger and through its spicy guitar flirtation, Haircut One Hundred. The voice of Fenlon is just as warmly inspiring as the sounds, feet and hips fully involved by rhythms and the catchy swing of the song as the listener’s vocal chords and a greedy appetite are recruited by the vocal and melodic prowess seducing ears.
Within it’s less than three minutes of length, further magnetic infusions of fresh flavouring emerge to line the excellent dips and leaps in energy, it all adding to the undiluted festivity of the song. Quite simply, the track is an adventurous pop rock party which has the listener in the palms of its boisterous hands.
If you missed Sugarmen the first time, be sure not to miss this second slice of their sound, indeed add it to your playlist for this festive period and spread the goodness.
With each unveiling of songs since forming and a simply majestic adventure of a debut album last year, we wondered whether the days of saying Jingo just get better and better was coming to an end as surely they could not surpass the riveting might of The Art of Loving. Thankfully that is a massive no as the band release brand new single A.D.D., a simply scintillating teaser of their forthcoming EP due later this year. The theatre of their sound, the intensive creativity of their music is all fuelled by a new voracious energy and imagination whilst emotionally and lyrically, the song is as rich a blaze as ever. So yes this is the UK based alternative rockers Jingo being better than ever again whilst breaching yet another lofty pinnacle in their invention.
The foursome of guitarist/vocalist Jack Buckett, his American wife and vocalist/keyboardist/guitarist Katie, drummer Joseph Reeves, and bassist Chris Smith, Jingo has potently flourished since their first ever show supporting Graham Coxon of Blur, releasing some attention grabbing songs and honing an increasingly acclaimed live presence which alone has shown them to be one of the most impressive bands on the UK rock/pop music scene. Comparisons to the likes of Fleetwood Mac and The Magic Numbers were early declarations but swiftly from the constant evolution and diversity persistently showing in their songwriting and music, Jingo was establishing their own unique identity which came to a head with the album The Art of Loving. In hindsight and using A.D.D. as a new marker, the release was a closing of a chapter in some ways but equally the sensational bridge to new dramatic climes now revealed in the new single.
A.D.D. opens with a bulging temptation of firmly bound rhythms wrapped in a tangy melodic enticing of guitar, and already drama colours the air as brewing emotional intensity begins soaking every early note and rhythmic swing. The track relaxes a little as the bewitching tones of Katie incite ears and closer attention, as ever her distinctive voice bringing an air of jazz like resourcefulness against the funkier spicing of the music. Keys add an emotive hue to the song whilst rhythms offer the shadows, everything building slowly but surely towards the irresistible flame of the chorus. It is a point where the song opens up and explores an even more energetic and provocative landscape, within which the song’s powerful lyrical and vocal narrative further blossoms. The song just grows bigger and bolder with every passing second, angst and passion increasingly and intensively dripping from every note and syllable as it heads into a blaze of a finale though the song’s parting moment is a just as pungent kiss of vocals and a reflective melody.
From its brilliant artwork provided by another side to Katie’s impressive talent, A.D.D. is pure aural beauty. It is a beast of a song too, generating a passion and emotion translated as physical intensity which most out and out heavy rock bands would kill for. The blood of Jingo’s music is melody though and that is as feverish and explosive as ever. Can the band top this we ask, well we are not betting against it.
A.D.D. is available to stream now @ https://soundcloud.com/jingomusic/add-2 whilst its Launch Show is on June 11th at Old St Pancras Church in London. See links below for more details.
Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net
The song might be about “taking a journey into the recesses of consciousness, exploring perceptions and angles that don’t add up”, but musically Walkawayis just one inescapable funk ‘n’ roll devilment of indie pop come new wave virulence. The song is the new single from We-Are-Z, a UK band which on the evidence of their new release, springs a sound on the senses as agitated and warped as it is infectiously magnetic. It incites body and imagination with tribal like rhythms amidst paranoia kissed sound, each racked with St. Vitus dance like activity within theatrical melodies and mellow washed vocals. The track is pure temptation, like Shriekback meets Late Cambrian in a Two Door Cinema Club embrace, yet different again.
The London based Anglo/French quintet formed in 2012, with its line-up already seasoned musicians bringing experiences of playing with the likes of Beyonce, The Waterboys, and James Morrison into the mix. Debut track Airbrush swiftly drew strong attention and support from media and fans alike, whilst the band since then has lured in diverse comparisons from Vampire Weekend to Devo and Franz Ferdinand to XTC. Inspirations are equally varied within We-Are-Z, the likes of David Bowie, Serge Gainsborough, Talking Heads, Blur, The Clash, and Static cited but as their new single shows, the band ultimately emerges with something yes a little familiar but perfectly peculiar to them.
Walkaway from its first touch is a rampant shuffle of jabbing beats and a dark flirty bass lure from Guillaume Charreau and Marc Arciero respectively. The guitar of Drew Wynen adds a lively temptation to the attention grabbing start also, little but gripping hooks and slithers of melodic spices a flirtatious tempting adding to the instant magnetism. Seductive and quirky keys are colouring the song further next, Clement Leguidcoq bringing a smouldering coaxing seeping around and within all the other tenacious textures at play whilst vocalist Gabriel Cazes has a drama and flirty quality to his insatiably vibrant tones and harmonies. There is no escaping the enslaving effect of the song, the puppeteer like lure of rhythms on limbs and the addictive contagion of everything else on voice and emotions, a proper feel good treat.
According to reliable sources, with an energetic and irrepressible live presence to match the adventure of their new single alone, it is easy to suggest we will all be hearing and devouring a lot more of We-Are-Z from hereon in.
Walkaway is available via Sputnik Records from May 18th
Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net
One of the artists which has truly excited and impressed without reservation over the past couple of years has been UK band Jingo. The London based quartet has inspired critical acclaim and a hungry fan base through a series of diversely inventive and explosively creative singles. It has led to an impatient anticipation for the band’s debut album and now that it is here, it feels like we all short changed them with our hopes and expectations. The Art Of Loving is an exceptional encounter, a delicious collection of melodically fiery and emotionally intensive songs which have a revelry which seduces feet right through to the passions. Individually unique but uniting for a fluidly captivating adventure, the album brings some of their previously released singles together with striking new songs. Those older tracks though which fans already know well and love, have been revitalised in their mix as well as in their actual bodies to create nothing but fresh and scintillating exploits within the exhilarating album.
Jingo consists of guitarist/vocalist Jack Buckett, his American wife and vocalist/keyboardist/guitarist Katie, drummer Joseph Reeves, and bassist Chris Smith. Since its early days and shows across Brooklyn, New York and London, Jingo has gone from their first gig which saw them supporting Graham Coxon of Blur, to being compared to the likes of Fleetwood Mac and The Magic Numbers, and to gaining fevered attention and support from independent press and radio whilst becoming one of the most talked about bands with fans and again the underground media. Their nine singles marked the band firmly out as having the potency to break into the strongest spotlight of attention and recognition, now the year in a half making The Art Of Loving could and should be the doorway into that expansive scenery for Jingo.
With former member Sahil Batra adding his talent to some of the tracks too, the band instantly ignites ears and imagination with album opener Black Flowers. A heavy air and throaty bass coaxing engrosses ears straight away but it is tempered by the vocal seduction of Katie. It is a magnetically intriguing union of hungry shadows and vocal temptation which only gains further potency as post punk scythes of guitar add their voice to the compellingly brewing emprise of the song. Once hitting its sultry stride, the track is awash with evocative keys and a metallic resonance to riffs which adds mystique and intimidation to the encounter respectively. The song is a dramatically contagious and ingeniously crafted fusion of light and dark, merging the heavier seventies rock essences of Jess & the Ancient Ones in majestic flirtation with the melodic beauty of The Magic Numbers and the atmospheric beauty of Solar Halos, but ultimately something unique to Jingo.
The following Skypunch opens with an elegant caress of keys but also another imagination grabbing breath of dramatic breeding. It is fair to say there is a powerful drama to all of Jingo’s songs, all different but all building an intensity and climatic narrative musically and emotionally. The second track soon parades a cinematic landscape of sound and emotion, its thick yet warmly charming enterprise suitable for a narrative of global espionage or intimate emotional dilemma. Keys and drums entangle with strenuous ideation across the song whilst Katie roars with mesmeric beauty matched by the similarly vocal endeavour of Jack’s expressive guitar invention.
Both When You Want Me and Belong To You take the listener into imaginative journeys of tenacious and creative revelry. The first comes through a sonic almost sinister ambience to cup ears in an engaging vocal tempting amidst a
bordering on tempestuous climate which like the rhythmic enticement seems to grow and bulge with intent the deeper into the song the listener finds themselves. Looking like it is heading into a storm, the song instead twists back on itself to parade a glorious stomp of funk seeded melodies and boisterous rhythms courted by a psychedelic enticing of guitar and keys. It is an engrossing and impossibly infectious song almost matched by its successor. Belong To You opens with a bass lure which offers hints of The Pixies before joining a warm flame of chords and the even hotter vocals of Katie. With a masterful rhythmic dance from the sticks of Reeves creating a gripping spine, the song smoulders energetically with a sixties pop and psychedelic infectiousness but also a provocative aural melodrama to voice and the multi-flavoured textures erupting throughout the outstanding track.
That sixties feel with a just as strong fifties pop additive, brings the following title track to enthralling life too. Barely a minute long and simply the voice and harmonies of Katie accompanied by finger clicks, it is simply mesmeric and irresistible. Like Wanda Jackson meets Sarah Vaughan, the track is a small treat and soon making way for Home. Right away there is angst and drama, a word impossible not to use with every song, to the thick bass hues and short stabs of guitar which skirt the visually provocative vocals. The track is sensational, a seductive and mentally intrusive aural movie which sets body and emotions ablaze whilst coaxing thoughts to create their own personal adventures.
A gentler flight is brought by the brilliant Blue Wail. Exotic vocal expression and jagged guitar teasing wraps engrossingly around thoughts whilst bulging rhythms and bass sultriness adds to the Caribbean coloured canvas spawning the
Artwork by Katie Buckett
creative devilry emerging above it. It is a transfixing fascination of sound for ears and imagination soon emulated in its own distinctive manner by Before You Were Born. The song is an emotively enchanting ballad but one still fuelled by vivacity through its rhythms and invention which keenly engages the striking heart felt vocal presence of Katie. It is a delightful embrace, if not as potent on the passions as other songs on the album, which shares its intimacy and passionate depths with the magnificent Jaclyn. Written about a friend of Katie who killed herself, the song is simply creative vaudeville set in the walls of one of the most creatively inspired and melodically pungent songs you are likely to hear this year. Every second, note, and syllable is soaked in passion, anger and love entwined in a fire of invention and yes aurally poetic drama. There is also a sultry seduction to the song which weaves and swerves curvaceously before ears to entice and pull the senses into the heated grandeur and personal fever of the track. Brilliance hardly covers it.
The jazzy elegance of Same Without You is next and cored by a piano grace, proceeds to cast a melodic temptress of itself melodically and theatrically to stand hand in hand with the similarly seductive vocals. With broody basslines and individual fires of invention lining the sensational enticement, the song is a climate of invasively emotive hues, melancholic ambience, and lustful invention, much like next up IQ84. The track from its first moment is parading an irresistible web of choppy riffs, jangling chords, and mountainously heavy bass and rhythmic sculpting. Complete with seventies seeded keys, a touch of The Stranglers not for the first time hinting away in keys, and virulently suggestive and flaming atmospheres, it is another stunning pinnacle in the release.
The Art Of Loving is brought to a close by the increasingly captivating beauty of Don’t Call It Love, a resourceful and melodically shimmering ballad once again allowing Katie to show the depths of her voice before utilising it in a crescendo of creative courtliness enclosed in a tempest of united passion and inventive energy. It is a slow burner of a song which given time matches the depths and heights of the other songs on what is easily one of the albums of the year. Fans of the band will probably expect to hear that but even they will have their breath taken away by its magnificence.
This is Life is one of those tracks which just triggers the sweet spot, treats it to a masterful seduction of stirring rock music which lingers and simply grows with time. It is perhaps no real surprise that the new single from UK singer/songwriter Jake Evans is so potent and exhilarating with its following of his acclaimed debut single Easy On My Soul, as well as impressive musical history, but there is something in its heart and presence which catches the breath and imagination far beyond expectations. It is a stunning encounter, thrilling and laying down a teaser of Evan’s forthcoming first album Day One which is irresistible.
Macclesfield based Evans first come to the fore with Rambo & Leroy, earning a reputation and spotlight which took him to the attention of Bernard Sumner and his band Bad Lieutenant after the second demise of New Order. As the band’s co-front-man, guitarist and songwriter, alongside Summer and New Order band mate Stephen Morris (also New Order) as well as Blur’s Alex James, Evans increased his reputation within the band’s success which led to invitations to support the likes of Paul Weller, New Order, Johnny Marr and Doves’ Jimi Goodwin once emerging as a solo artist in 2012. Easy On My Soul was drenched in eager acclaim upon its release slotting nicely in with highly praised appearances at Festival No 6 and the iconic Jodrell Bank music festival. This Is Life is the next adventure and certain to open up a new depth of ardour for his impressively evolving creative persuasion.
The song is a tide of virulent hooks coming in varied shapes and designs, the first an immediate temptation as This is Life opens. A sonic sigh lights the fuse to a weave of acidically melodic guitar bred hues which instantly recalls The Cult, delicious bait which subsequently embraces the shadows of Sisters Of Mercy too as a great throaty bass seduction and crystalline keys explore the imagination. Evans’ voice has a slightly grainy feel to his expressive tones which only adds richer colour and texture to the contagious enticement, his delivery holding a whisper of Paul Marsh of The Mighty Lemon Drops, as does some of the melodic suasion lapping around his voice. It is a gloriously fascinating proposition which only flourishes further through fine guitar coaxing and a steady but potent rhythmic framing to the smouldering intensity and passion of the song.
Those essences of eighties and nineties bands bring a familiarity to the song which only increases its contagion and appeal but equally there is an originality and invention which as mentioned at the start, fondles and incites an instinctive rapture to the impressive encounter.
It is impossible not to breed a healthy anticipation for the impending Day One from This Is Life alone but placed alongside Easy On My Soul expectations and hopes reach skywards, though you sense they will be well fed and pleasured by Evans when the time comes.
Across the past twelve months or so, UK based band Jingo has been one of the biggest surprises and persistently unique propositions to keep the site excited and busy with a regular presentation of singles. Recently the band unveiled the final three tracks in a series of four which were released one by one over a four track period. As almost expected now but always impressed by, the songs came with individual character and stylishly varied sounds wrapped in an equally mesmeric imagination.
There was the poetically evocative Before You Were Born, a song which opens with the ever sirenesque voice of Katie Buckett courted by just as elegant melodic caresses and pungent keys. Heart bred and emotively enchanting, the song immerses senses and thoughts in a striking aural narrative which grows and brews in intensity across its length, Kate’s husband Jack alongside Joseph Reeves and Sahil Batra casting a magnetic web of sound and vocal support, not forgetting sonic drama which is mouthwatering. It is a glorious song which shares diversity and startling persuasion with Home, another song which is able to simultaneously seduce and inflict an intrusive adventure upon the imagination and passions. The drama of the previous song is again, as across most of their songs, a thick temptation which shares shadows and sultry colour with the equally delicious sounds and gripping premise of the encounter. The track is a brilliant aural movie for mind and heart, a provocative suitor for ears and senses, and an ingenious lover for the imagination, just like the last of the single released in that aforementioned quartet. Turn Around is rhythmic enticement around which vocals and harmonies flame and melodies dance with a flirtatious summer bred festivity. Again the track offers something new from and about Jingo. It is a trait all of their ten plus singles has succeeded in impressing by, here a Caribbean swagger and warmth aligned to a psychedelic coaxing a bewitching venture to which Katie excels, once again.
Jingo is a band which surely cannot be a British secret for much longer, their invention and craft too big to be contained you suspect and hope, especially with the forthcoming release of their debut album which the band are finishing as you read. With a long overdue move to find out much more about the band; its past, present, and future we had the pleasure of having Katie share time with us and revealing…
Hey Katie and welcome to the site, thank you for talking with us.
Thanks for liking our music.
Tell us about the beginnings of Jingo, where it all started and on which side of the ocean; oh and was it band or romance first?😉
Jack (guitar) and Joe (drums) brought their band to New York for six months to live the dream. They rented a basement flat in The McKibbin Lofts, a converted warehouse in Bushwick where I had been living for a couple years. I ran an open mic in the building where I first met them and there was a really great community vibe in the area so I guess you could say music brought us together, but it all really came together when Jack and I got married and we decided I should move to London. It was tough, I trained long and hard, but sure enough I mustered the strength to swim across the Ocean. Soon after their other band came to an end, we started playing music and calling it a band little over a year ago.
So what specifically inspired the relocation to London from the US?
Well Jack said in the event of a nuclear catastrophe, in which the only way he could survive was to move to the US, he would only just consider it, so I packed my bags.
Did Jingo start out with any specific intent and vision for the music and its presence?
The most important thing has always been making good music. Sometimes I make the mistake of asking Joe if my hair looks okay and he always says, “I don’t give a shit.” People sometimes ask questions about our varying styles of songs or our fluctuating stage antics but we don’t really care. We’re still growing and I think our attitude towards the music will lead us in the right direction. A Jingo can be stuck in their ways and no one wants to be that guy.
As evidenced by the mass of singles released over the past couple of years, your sound is as diverse as it is contagious; how would you describe your music in a single sentence for newcomers?
Rock and Roll Dinosaur Electronia that the girls can dance to.
Listening to your songs you get the feeling that they organically spring to life with their own ideas on character and then you hone and sculpt them; how does the songwriting works within the band?
Usually I’ll have the skeleton of a song with some words and Jack will refine the melody, then we’ll jam it out in the studio. Sometimes it will start with a guitar riff or more recently we’ll jam the whole song into being. We never really know when a song is going to come out, but at the moment they are coming out our ears. We don’t like to be very formulaic we just take them as they come.
It is a democracy when it comes to creating songs or is there a core source more often than not?
It is a democracy in the sense that whatever sounds the best is law. Sometimes it’s a matter of demonstrating your point, but most times we end up agreeing in the end. People naturally fall into their roles. Jack is definitely the band leader, lyrics are mostly all me, but the all-round writing of the song is very much a group endeavour.
Your songs always, however emotively shadowed they might be, come with a stroll and smile; this is a reflection of you as people and your wants from good music?
I think that even if you write a sad or dark song, you want the listener to enjoy the experience of listening to your music. Bad experience can unite us and a bumping beat is the best remedy. And you can never take yourself too seriously.
What inspires the lyrical side of your music? Some of the songs are quite dark at their core.
It’s not the same for everyone in the band, but for me art can be a sort of therapy. There are some things that have happened in life that are hard to conceptualize in any other way besides writing a song. I had a troubled friend who killed herself and our song Jaclyn is a combination of anger and loving life in her honour. Sometimes rocking out and screaming your heart out is better than suppressing love and loss where no light can get to it.
As mentioned you have released a tide of singles, how do you see your sound has evolved and grown since the first and the recent Turn Around?
I don’t think we’ve found a specific sound yet, but we are starting to play a lot more songs that aren’t as dark. Jack had only just started music production with these first recordings, so we’re definitely improving fast in that way. We’re becoming a lot more relaxed with each other and with our new band-mate Chris, who also produces electronic music. We’re really excited for what the future holds.
You are obviously a band who pushes themselves and embraces different styles and flavours; what past and currently has inspired you most potently?
I think we all get down with the music our parents listened to in the 60s and 70s- Led Zeppelin, Jefferson Airplane, Crosby Stills Nash & Young, King Crimson, Jimi, Beatles, . We are all avid music listeners. Our heroes of now are Jack White, Queens of the Stone Age, Interpol, Jeff Buckley, Radiohead, Black Rebel Motorcycle Club, Neil Young, Pearl Jam, Tame Impala, Grizzly Bear, Lana Del Rey, Prince, Haim, First Aid Kit the list is endless.
Live you are renown for your exciting performances, your first ever show being support for Blur’s Graham Coxon. How did that come about?
We run an open mic called Cable Street Electric. Once in a while we do a charity night, one of those was at Mother London in Shoreditch. When they wanted to do their own charity night for Shelter, they thought of us and invited us to play, just so happens Graham Coxon was playing after us, pretty dope.
Would you say it put you swiftly under a certain spotlight or it did not really aid the emergence of the band other than in experience?
It’s always great to play for fresh ears. I don’t know if we really benefitted especially from that night as far as the band goes, but it makes for a great story and none of us will ever forget it.
I am assuming band members have a ‘real ‘life’ and job outside of the band, so how does Jingo manage to be so prolific with their songwriting?
We’re really lucky in that music is what we do. We intentionally don’t have full-time jobs so that we can put as much into our music as possible. We all have certain skills that we can get by with for living costs, but the music is always at the forefront of our minds. We practice often, have a good work ethic, but also have a ton of fun doing it.
What has been your favourite single to date, or the one which you feel epitomises Jingo for new ears?
That’s a hard one, I’m sure it’s different for everyone, but I really liked the release of When You Want Me. We won a competition where we got to record at Strongroom studios where Radiohead and a load of others have recorded. It felt for a second like we were big dogs and they treated us really well and we got to tinker with all their toys.
Tell us about your forthcoming EP? What can we expect and how does it push on from the excellent singles which have already seduced so many?
It’s a full album silly! We are releasing our last couple songs with the record and they are quite fresh so we’re really excited about it. Also I’m a painter, so I get to do some artwork for it so I’m pretty pumped about that. There are some surprises with all that and two new music videos coming out around the same time. We aim to please.
Your singles have all been released for free downloads, are you going the same way with the album?
Nothing is final but we are definitely selling our album. With putting out free singles we really wanted to build a fan base and give everyone a chance to get to know us, I hope our fans will return the favour and purchase a copy so we can make more and tour potentially.
What were the ambitions for the band when it first began and for you when first making music, and have they changed or evolved since?
The ambition has always been to make great music; I don’t think that will change. The next cloud would be to make a living at it, I think we are well on our way but only time and hard work will tell. Maybe I can get the guys to all wear animal costumes, I’d get a kick outta that.
What is planned for the rest of 2014?
There are definitely secrets in store of which I can’t divulge. All I can say is stay tuned; album, videos and more to come soon.
Again a big thank you for chatting with us and providing such great and richly loved songs for our podcasts🙂
Thank you so much for listening and sharing, we owe it to people like you putting a signal out.
Any last thought you would like to leave us contemplating?
All you need is mom’s spaghetti, a brick and a bin bag.
Lastly if you could schedule a stage at a festival with Jingo headlining, what emerging bands which you have played with or come across would you invite?
Not Blood Paint, Bird Courage, Bailiff, Pat Dam Smyth, Bad for Lazarus, Steve Nelson
The new single pulsates into view, its initial electronic tempting soon joined by rhythmic throbs and vocal bait. The ripe coaxing, speared by the purposeful swings of Guillaume Charreau, increasingly grows as sultry hues caress ears, their lures aligning with a just as potent melodic and harmonic drama. In no time body and imagination are lost in the flirtatious and riveting theatre of the song with the dark rhythms, led by a gorgeously throat bassline cast by Marc Arciero, alone just irresistible. The keys and guitars of Clément Leguidcoq and Drew Wynen sparkle and dance as they entangle with each other around the ever welcoming and tenacious vocals of Gabriel Cazes, he like the ringleader to a band of sonic mischief makers with a delivery which simply lures the listener deeper into the party playing with their ears.
A.D.D. opens with a bulging temptation of firmly bound rhythms wrapped in a tangy melodic enticing of guitar, and already drama colours the air as brewing emotional intensity begins soaking every early note and rhythmic swing. The track relaxes a little as the bewitching tones of Katie incite ears and closer attention, as ever her distinctive voice bringing an air of jazz like resourcefulness against the funkier spicing of the music. Keys add an emotive hue to the song whilst rhythms offer the shadows, everything building slowly but surely towards the irresistible flame of the chorus. It is a point where the song opens up and explores an even more energetic and provocative landscape, within which the song’s powerful lyrical and vocal narrative further blossoms. The song just grows bigger and bolder with every passing second, angst and passion increasingly and intensively dripping from every note and syllable as it heads into a blaze of a finale though the song’s parting moment is a just as pungent kiss of vocals and a reflective melody.
sigh lights the fuse to a weave of acidically melodic guitar bred hues which instantly recalls The Cult, delicious bait which subsequently embraces the shadows of Sisters Of Mercy too as a great throaty bass seduction and crystalline keys explore the imagination. Evans’ voice has a slightly grainy feel to his expressive tones which only adds richer colour and texture to the contagious enticement, his delivery holding a whisper of Paul Marsh of The Mighty Lemon Drops, as does some of the melodic suasion lapping around his voice. It is a gloriously fascinating proposition which only flourishes further through fine guitar coaxing and a steady but potent rhythmic framing to the smouldering intensity and passion of the song.
Live you are renown for your exciting performances, your first ever show being support for Blur’s Graham Coxon. How did that come about?
