RNCM Pop Course Launch
The Royal Northern College of Music (RNCM) is launching the UK’s first ever four-year BMus (Hons) Degree in Popular Music this week.
The course, one of only three four-year popular music degrees in the world (alongside Amsterdam Conservatorium and Berklee College of Music), provides intensive training for instrumentalists and singers with a high level of performing ability who intend to work as freelance musicians, bands and artists in the popular music industry, or as a preparation for postgraduate study.
Delivered at the RNCM, Blueprint Studios and Lever Street Studios, students will work with teaching staff who are high-standard academics and active professionals in the music industry, working as session musicians, producers, songwriters, recording artists, composers, music directors, managers, promoters and performers in their own right.
Andy Stott, Head of Popular Music at the College, said: “I believe there’s a revolution going on in Manchester, driven by the creative talents of the popular music students at the RNCM. We find ourselves in a unique position – offering the UK’s first four-year BMus Popular Music Degree while enjoying all the benefits of a world-class conservatoire in a city with a rich musical heritage and dynamic popular music scene.”
Evolving from two year Foundation and three year BA (Hons) Degrees to a single four-year course that sits alongside the College’s classical degree programmes, the new BMus (Hons) in Popular Music seeks to develop students’ musical identity through creative composition, production and performance-based modules that enables them to be high quality performers and original artists in their own right.
“What is also exciting is the amount of collaboration that is going on at the RNCM with students from across all disciplines – this is again unique to the College,’ said Andy. ‘There’s a tangible energy around the popular musicians working with orchestral players and they are producing some inspirational new music on a level that is creating a real buzz and lots of industry interest.”
“Our core purpose is to enable these talented young people, from across the world, to fulfil their potential as musicians. Through dedicated coaching, a thorough academic grounding and extensive performance experience, our students thrive and succeed. We have the opportunity and ambition to cultivate what is already the UK’s premier training programme for popular musicians into one of the world’s leading centres for popular music education, innovation and artistic development. Our students are our biggest asset, and it won’t be long before they become leading lights in the UK’s popular music industry – trained in Manchester.”
Applications are now open for study commencing September 2016.
http://www.rncm.ac.uk/
http://www.rncm.ac.uk/news/
False Advertising Live
The Deaf Institute, Manchester, 25 September 2015
Band Members:
Jen Hingley - Vocals, Guitar, Drums
Chris Warr - Drums, Vocals, Guitar
Josh Sellers - Bass
“Thinking we were ready, we spent the entire bank holiday weekend recording 19 songs worth of drum travks between us. After a few weeks back in rehearsals it dawned on us that we could have done a lot better. So we started the recording process again and again until we were good enough to get the parts that had written right”
I said in my review of the band’s accomplished debut album that I couldn’t wait to see them perform live. I didn’t have long to wait…
For many independent Manchester based rock or folk act the bijou Deaf Institute venue is familiar and often conquered territory. For False Advertising this is particularly the case as the band launched its debut album there. In a show comprising three new/young bands, False Advertising comfortably stood out as being the one with outstanding future potential; the one to watch out for.
The foundation and multi-talented band members Jen Hingley and Chris Warr opened proceedings with Hingley on drums and Warr on lead vocals - roles they would reverse through the night’s proceedings. Opening with “I Don’t Know” from their eponimous debut album Warr’s vocal and guitar playing was beyond reproach, while bass player Josh Sellers made his presence felt in this rhythmic humdinger of a song. Considering Hingley took up drums by necessity, her playing lacked for nothing.
The lumbering paced and deathly vibe of “Cold Shoulder” was next with Warr again featuring on vocals and guitar supported by an explosive rhythm section which dominated this quite brilliant song. Warr’s final lead role culminated in another superb song from the new album. “No Good” is a glacially paced grunge powerhouse with a sound that belonged on an arena stage rather than this tiny dolls house platform. The first three songs on the night confirmed by view that this band will indeed go places, and not just here in the UK.
Hingley swapped roles with Warr to take up guitar and lead vocals for the next song, “Breaker”, which opens the band’s album. Her live performance belies her baby-faced, very young looks. She’s not an animated player rather one who delivers with skill, passion and heaps of expression for this jagged, dirty rock ditty. Next is one of my favourite tracks on the album, the hugely melodic and Nirvana influenced “Only Way”. Hingley’s voice reminded me of Hole’s Courtney Love while her guitar work is of high quality.
“Something Better” moves along at snail’s pace again with brilliant performances from the three culminating in some of the most explosive choruses I’ve heard this year. Throughout the performance I felt that here was a band totally committed to their art and a rock genre that’s become sadly neglected in recent years. It’s rare to come across a brand new and young band with so much authenticity and authority, and who not only perform to perfection but can write rock songs of such accessible quality.
In short, I was blown away!
SETLIST
I Don’t Know, Cold Shoulder, No Good, Breaker, Only Way, Something Better, Wasted Away, Dozer.
False Advertising Debut LP
False Advertising FALSE ADVERTISING. Self
Band Members:
Jen Hingley - Vocals, Guitar, Drums
Chris Warr - Drums, Vocals, Guitar
Josh Sellers - Bass
“Thinking we were ready, we spent the entire bank holiday weekend recording 19 songs worth of drum travks between us. After a few weeks back in rehearsals it dawned on us that we could have done a lot better. So we started the recording process again and again until we were good enough to get the parts that had written right”
Could Manchester be the new Seattle? Going by this band’s debut album it could well be. Inspiration taken from Nirvana’s music is thinly disguised and provides the band’s music with rock authenticity and the rawest of emotions.
Opener “Breaker” wastes no time in communicating this band’s generic makeup. It’s grunge/alternative rock with the self-produced sound providing a live and very raw vibe. Hingley’s vocal is ideally suited to this drum-dominated, and surprisngly melodic track. A Good start.
A powerful guitar riff dominates the opening of “Another Mention” with Hingley’s voicing darting in between clattering drums and rampant guitar. There’s another strong melody, another effective Hingley vocal and choruses that leave their mark. “Wasted Away” maintains the quality and excitement with a song that reminds me of “Teenage Spirit” in the choruses and some of the guitar licks. It’s a huge rock song with massive melody and a spirit of its own - a definite radio single if ever I’ve heard one.
In “Dozer” both Warr and Hingley offer vocals in a song of Usain Bolt pace with some intricate guitar parts that are more than impressive. In the background the drum rhythm emphasises the grunge sound although, not for the first time, the band injects some solid pop sensibility.
“I Don’t KNow” adds Beatles influence into the mix with Warr taking the lead vocal role. The song’s retro feel adds to the attraction of another melodic humdinger. With “All Of THe Above” Hingley comes back in a song that stumbles along at snail pace. She gives a mocking style of vocal that bestows the song with a totally different sound and vibe - in a good way! Warr returns vocally in “Cold Shoulder” with a rhythmic stunner of a song which cleverly mixes pace, powerful instrumental moments amd another powerhouse melody.
On my first listen of this record I wasn’t sure but several listens later I’m convinced that it’s an awesome debut from this Manchester-based band. I love the grunge sound and the rawness of the production, sound and diversity of pace. But this also contains some of the strongest rock melodies and instrumentals I’ve heard this year. I can’t wait to see them play live.
4/5
Editors IN DREAM Triumph
Editors IN DREAM. Pias/Play It Again Sam
Recorded on a remote part of Scotland’s west coast, IN DREAM represents a shift in Editors creative world. Permeated by atmospheric synths, dance beats, major keyboard passages and all manner of electronic sounds; along with the band’s traditional guitar, bass and drums. It’s driven by, In frontman Tom Smith’s words, by a desire “to be both pop and experimental.”
“Our new record is called In Dream, it’s out in October. Our last record was the sound of us learning to walk again, with new legs! In Dream, our first self produced album, is us diving into the computer, a real studio record, made in isolation by the 5 of us. Can’t wait for you all to hear it. TX”
Just occasionally one receives an album to review which presents challenges. Take this one for example. The Editors have pretty well stuck to a sonic and song formula which clearly distinguishes them from all other UK bands. Leadman Tom Smith’s great and distinctive voice is a major part of the band’s sound signature and its emotional vibe. But what happens when the band strays into seriously electronic territory with more than a hint of dance beatology? Well, I have to admit that on hearing the record for the first time I travelled to Google to see what others felt about it. To my surprise I could not find any reviews for a record that’s been in their hands for some time? Perhaps, like me, they needed a few listens…
This is a record that could be framed as either adventurous or sell-out (to the likes of the dance-friendly major radio stations on both sides of the pond). In truth it’s probably a mix of both but with adventure the major, overriding influence. And I say this because Editors have been nothing less than sincere and truthful about what they do. Think back to some of their songs which have burrowed deep into the psyche of music lovers here - with sentiments and gravitas that connect, melodies that stick and live performances that inspire.
“No Harm” starts proceedings with wandering keyboard notes and drums beating a steady, relentless path to Smith’s opening vocal lines when he hits some impossibly high notes. It is an extraordinary song that one imagines should be recorded by Radiohead with Tom York leading the charge. I’m also struck by the stunning sound quality that is sharp and clean as it escapes through my speakers. It’s a solemn and dark rhythmic song - an adventurous choice for the album’s opening track. But it works magnificently.
“Ocean Of Night” is next and while there’s a distinct dance beat, it’s overall sound is more traditional Editors and a prime example of why Smith’s voice is so important in creating that signature band sound. The middle-eight reveals an instrumental passage of pure quality boasting a high level of melody-underpinned pop sensibility. “Forgiveness” rolls down a rockier road with its heavy bass rhythm and hastening pace. Keyboards also play an important part in distinguishing this song. Computer-generated orchestral strings very effectively open “Salvation” before Smith and a deafening bass rythm enter and dominate the stage before those strings return in a stunning chorus. This is prime Editors and a song I would love to see played live.
“Life Is A Fear” is introduced by a solid dance club beat and just as I’m thinking ‘it’s just another dance song’ along comes Smith to elevate it to legitimate Editors territory. It may not be the best song here but it ain’t that bad either. “The Law” opens with a bellowing sound that I don’t recognise followed by a more familiar Hammond sound. It’s downbeat with angelic backing voices but is more like incidental music… “All The Kings” is another dance-beater but with more interest injected in particular by Smith’s falsetto vocal, a stronger melody and good lyrics.
“At All Costs” majors on an orchestrated dance beat, a powerful melody and a more conventional Smith vocal. I imagine this as a popular radio airplay choice as it offers everything required in one solid package. “Marching Orders” completes the album on a solemn and moving note. The pace is glacial while Smith sounds very much like Rufus Wainwright. It’s arguably the most beautiful track here as Smith gives the most expressive vocal on the album, with the keyboards providing a solemn ecclesiastical vibe. The song builds to an epic scale with pace and rock instrumentals taking over the race. It’s a fitting end to an album that offers several surprises but cleverly maintains the Editors sound. It was a risk worth taking and an adventurous addition to the band’s music. And for that reason fans should flock to it.
IN DREAM is released on the 2 October, 2015.
4.5/5
Glen Hansard’s Masterpiece LP
Glen Hansard DIDN’T HE RAMBLE. Anti
While fans of the Frames still wait patiently for a new studio album they can thank their lucky stars that leadman Glen Hansard is still writing, still recording, still stirring the emotions. DIDN’T HE RAMBLE is his second solo record and is due for release on the 18 September via the Anti label.
Unquestionably, Glen Hansard is one of music’s greatest singer/songwriters. Time and again through his work with the Frames, Swell Season and solo work he has created music that is intelligent, passionate and hugely accessible via consistently powerful door-opening melodies. A truly great singer/songwriter reveals through music what’s inside to the outside; it’s the purest form of musical and artistic integrity that’s as rare as hen’s teeth. And yet you’re unlikely to hear his music played on UK radio or TV with the rare exception being his Oscar winning song, “Falling Slowly”, which at last drew the attention of the BBC albeit for a short time.
DOESN’T HE RAMBLE is an extraordinary record because it represents the best of Hansard - writing, singing, recording, communicating. As with all his music this album is full of songs that could be aired on radio, arguably more so than anything else he’s done. The mood throughout is introspective while the music is diverse in pace and sound. Take the opening song “Grace Beneath The Pines” which opens with an extended, monotone instrumental drone which I interpret as reflecting sad romantic memories and feelings that have persisted for many years. Then two minutes in and the piano and horns make their glorious entrance to provide a more optimistic vibe with the accompanying lyrics, “I’ll get through this, I’ll get through this, I’ll get through this, I’ll get through this“. It’s a song that moves like few others.
The more upbeat “Wedding Ring” is next and again I feel it reflects a past sadness and anger that is difficult to dislodge; romance gone shockingly wrong. The lyric “Will you be strong enough to keep her/To stop love going cold” reveals the song’s romantic message. The melody, as in the opening song, is memorable and beautiful but the next song “Winning Steak” with its Dylan-esque feel takes melody to new heights. It’s a medium-paced song with what appears to be an ironic message tinged with bitterness. This should be a prime mover on radio playlists.
But Hansard is far from finished as next up is “Her Mercy” which is the most melodramatic song you’ll hear all year. It opens quietly enough but around the middle-eight it reaches an amazing crescendo complete with backing vocals and screaming horns. Hansard empties his guts with the most expressive, angry vocal on the record - it’s way up there with his most passionate performances and songs.
“McCormack’s Wall” is a narrative style song which is heavily tinged with folk, and the gentlest of vibes. John Sheahan provides the most gorgeous violin outro solo. The song represents a slight shift in emphasis from the clear country vibe of previous songs. “Lowly Deserter” is a rhythmic, rocking humdinger with banjo dominating the opening segment against a powerful drum backdrop. Try to stop your toes tapping to this tune… The horns return and I’m reminded of a New Orleans funeral procession. It’s simply amazing.
“Paying My Way” is quietly reflective as it wonders gently along an alt-country sonic route. It reminds me of past Frames glories and is utterly beautiful. “My Little Ruin” is an emotional rollercoaster with Hansard’s voice at its most expressive as it alternates between quiet reflection and outright anger. It’s a heart-stopping track and one of my favourites.
If ever there was a perfect album, this is it. The song-writing is epic (check out the full album lyrics at the end of this review)while the performances, arrangements and production are so accurately tailored to each song’s message and vibe. This is Hansard’s masterpiece and likely to be our album of the year. ESSENTIAL!
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