Tuesday, June 28, 2016

Motel Radio's Vast Indie Sound Conjures Up Summer Surf Excursions - See Official Video for "Phasing Out"

The music video for Motel Radio's "Phasing Out" as directed by Conner Reever has a free wheeling off kilter goofiness involving an attraction to a store window manikin. The song itself bobs and sways and has this vast sound that kind of creates it's own wanderlust that for me creates images of northern California cliff views from PCH and surfing excursions to far away places. It is the single from the upcoming new EP "Desert Surf Films" dropping August 12th via Roll Call Records.

All this from a band from New Orleans, Louisiana. Press notes reveal that Motel Radio was born out of a songwriting collaboration between college roommates, Ian Wellman and Winston Triolo, that has since grown into a full band consisting of Eric Lloyd (drums), Andrew Pancamo (bass), and David Hart (keys).

Early writing and recording culminated in the summer of 2015 with the band’s independently released EP ‘Days and Nights.’ The EP earned them supporting slots for national acts such as Drive-By Truckers and Kurt Vile in addition to festival performances at Firefly, New Orleans Jazz and Heritage Festival, and SXSW, among others. The band was named “Best Emerging Artist” at the 2016 Big Easy Awards in their hometown.


Check out Phasing Out. After a few listens, close your eyes and see what images cascade through your mind.
-
Robb Donker

Thursday, June 23, 2016

No/No's Debut Record "Sound and Light" is that Alluring Stranger that Feels Like an Old Friend

On their debut record entitled "Sound and Light" (via Gloss Records) No/No's sound glistens with the shiny musical DNA of 80's bands like Joy Division, Psychedelic Furs, Siouxsie and the Banshees, Berlin, Missing Persons and more modern lush wave-ish outfits like Garbage, Kitten and even Sleigh Bells (Don't Remind Me). While the droning heavy synth bass keys may pull you in, it is the heavy guitar and girl / boy vocals often times pushed through a sexual come on / sci-fi filter that add the allure. The melodies, noise rock aesthetic and synth-ish plastic drums take you back to John Hughes movies but the No/No/s have a hint of John Waters too. There is a wrong side of the tracks feel here. 

The track Waiting For Something To Happen floods in on your senses slowly and is unabashedly retro. Sure some of those melodies might feel familiar but like comfort food and a good smoke you can't help but smile and purse your lips. The pulse-driven Television is soaked in art rock neon colors. It is heady rave music with a cool ass guitar. I like the more natural opening drums in Bad Habit, the jagged edges feel like a beefed up take on Duran Duran or Billy Idol. 

Two Lane Blacktop feels like a vast runaway song again firmly cast in an 80's light. A Thousand Times is probably the most guitar heavy centric song on this debut album. It has that wide Billy Zoom stance feel that makes it head bangish fun. Dark Side has a luscious bass bottom and a dirty electronic sound. The guitar glitter on the pre-chorus is really sweet. Whatever might be the glassy eyed slow dance of this record meant for broken hearts and bruised fists. I really love how the vocals sound a bit more natural. Beautiful emotionally wrought textures in Cat Ries' tortured vox. This song might be the "populist" hit on the record with the most mass appeal. It is the kind of song you listen to late at night and lament that one that got away, or that dream you didn't chase, the wave you didn't have the balls to drop into, the guy that you did not save from those punks and that jump you didn't take off that cliff all the while crying your eyes out and getting stoned. 


There is a two fold attraction to "Sound and Light". On one hand, those of us who cut our teeth on the 80's sounds that (I would guess) inspired No/No's sound might embrace these songs like strangers that somehow feel like old friends and to those a lot younger who may not be that familiar with some of the source material (as they say) "Sound and Light" might feel utterly shiny and new. Either way, there is a lot to love, to feel.

I am searching for that old tight leather jacket and black peg leg pants and say Yes/ Yes to No/ No.

-
Robb Donker

Saturday, June 18, 2016

The Red Hot Chili Peppers Jump Off the Danger Mouse Cliff and Soar with a Bipolar Polaroid-ish Trip in "The Getaway"





















The first time I heard the Red Hot Chili Peppers was in 1984. I was watching MTV and the video for "True Men Don't Kill Coyotes" and I remember thinking how absolutely crazy they looked and sounded. Their debut self titled album was produced by Gang of Four guitarist Andy Gill who butted heads with the band and their raw sound. The result was cleaner but less potent. It was an impressive beginning but that first effort was definitely producer driven.

Fast Forward 32 years later and the Peppers' latest "The Getaway" is very much a producer driven record as well. This time  the man at the helm is producer Brian Burton aka Danger Mouse and, amazingly, this record was mixed by Nigel Godrich. Now while back in 1984 I am sure that the Peppers felt like they sold their soul a bit but this time Kiedis and the boys gladly "jumped off the cliff" as he has said about giving themselves up to Burton.

Fate is funny. If it were not for Flea breaking his arm while snowboarding "The Getaway" would not exist. Prior to this delay, the band had penned 30 songs to pick from until Flea's unfortunate accident. That stall turned into the band hooking up with Burton who summarily discarded all but 4 of those songs and talked the band into writing brand new material in the studio. Oftentimes after a musical bed was finished Kiedis had to write lyrics and vocal melodies overnight to keep up with the pace. It is a daunting way to create but the Peppers never being a band to not take chances, they gave themselves up to the process. Did the gamble pay off. Yes. In a big way.

For Red Hot Chili Peppers fans there might be dissenters but all I ask is that you listen to the album at least 4 times as it is the kind of album that has the band exploring different flavors. Take Sick Love that has the Kiedis soft bump and grind bounce but the almost light jazz rhythms make the track feel like an almost 70's syrupy sweet song that works. The heavy bass bottom saves it from a mid-range pop death. It has an expansive sound as much as a wonderful chill sway. We Turn Red veers into a more Pepper's formula trading heavy rock funk lines that give way to those pretty Kiedis sea faring hippie stuff. I always think of Anthony as a soul with a true 60's hippie heart.

The album's wave your arms in the air track is The Longest Wave. It's got the Kiedis bump again but Burton's production elevates the song into a soaring love gone wrong Polaroid-ish psychedelic trip. The line "under my skin and half my age" obviously refers to Anthony's break up with his young model girlfriend. When I first heard Goodbye Angels Josh Klinghoffer's guitar work sounded very Radiohead-ish. He kicks ass on this song (as he does all throughout the album) with very sweet ascensions on the neck and half step flourishes. Chad and Flea seriously jam as well. Love this song and cannot to hear it live.

Feasting On The Flowers is not a bad song but just doesn't grab me and I blame the production mostly. It has this too glossy vocal spread on the chorus that for whatever made me think of the Eagles, of Hotel California and Supertramp. I know that is weird. This song just feels too derivative for me. That is not saying it is a bad song. It is not. It is a good song but it feels too safe for the band. I suspect that I will like them performing it live. Detroit also has a beginning basic prog but is so jammy that and falls into this amazing glam-ish chorus that I fell in love with it. I thought of Wires on Fire and Rage Against the Machine. This song is going to kick some major ass live.

This Ticonderoga is a good bookend to Detroit even though it is totally bipolar. It has an indie-psychedelic meets glam aesthetic one minute (like Thee Oh Sees meets Ty Segall) and then Jekyll  and Hyde's into a kind of Foxygen tone. Very strange. I admit that it took me a while to "get it"- get the bipolar-ness, the ying and yang of it. I recently saw The Peppers perform it live and NOW I get it. It is actually brilliant in it's push and pull and it's sensibility matches the bands diverse edges. It muscially punches you and then kisses the bruises. Encore has so many references to the 70's, it is a wanderlusty song. It strikes a very middle of the road stance and commits to it.

The last two tracks are a total surprise. The Hunter could of been a song on Elton John's Captain Fantastic and the Brown Dirt Cowboy album. It has a honky tonk sway to it and a romantic streak "strawberries left to decay"- c'mon this is such a daring departure for the Chili Peppers. There is a fucking dreamy horn and strings. This could be the next Bond theme. The last track on the album Dreams Of A Samurai blends together a lot of tones. I thought of Cowboy Be Bop and Crosby Stills and Nash's track Cathedral and 70's UK prog jazz rock Nektar. It is part pop fusion and a spaghetti Western.

Maybe the standout track at least from a pop sense is the invigorating epic Dark Necessities that does everything absolutely right. It is the perfect marriage between producer and band. The bass is epic Flea, the rhymes and melodies is epic Kiedis, Josh Klinghoffer's leads are elegant and burn in your head and Chad doesn't over play or under play. He is perfect.

There are only two songs that simply don't speak to me, The Getaway and Go Robot. While the title track is a slick piece of work. It has a heavy producer hand on it which for me felt like the band was saying from the get go that this album was going to be different and very produced. I must say that it turned me off a bit because I so love the Peppers raw emotion and power and here they felt measured. What really alarmed me was the clicky trackness of the song. As you can garner from my previous comments, the rest of the album opened up (for me) and feels much more alive, more emotional. Go Robot sounds like song on a Styx or Alan Parson's Project album or maybe even Duran Duran. I must say that I do absolutely love the guitar work on it. This is another song that might make more sense to me live. Maybe the production muted the emotion here.

In the final analysis, "The Getaway" is a great album. The majority of the songs explore new facets of a band that has always taken chances, always evolved. What is so stellar about the majority of these songs is not only the big framework but the nuances hiding in the spaces. The guitar sounds, the delicate drum fills, Kiedis' emotional almost mournful phrasings and Fleas masterful bass lines. That man is amazing. All these nuances are like the little scars around the large ones. Scars from so many trips that celebrates music as the journey of live. Give this album a listen. I think you will love the journey.

-
Robb Donker




Wednesday, June 15, 2016

Toddler Snatched By An Alligator - Was the "Jaws" Scenario In Place at Walt Disney World Resorts? Did Commerce Override Public Safety

























AP: Commentary - No Warning Signs?

In Steven Spielberg's 1975 thriller "Jaws" Roy Scheider plays police chief Martin Brody in the sleepy seaside village of Amity Island. After a swimmer perishes during a late night beach swim the evidence poinst to a shark attack. Police chief Brody wants to close the beaches and warn the public that there is a man eating shark in the waters but the Mayor Larry Vaughn  of the town overrides him fearing it will ruin the town's summer economy. As a result the signs warning of sharks in the water do not go up on the beaches, that is until a child is killed.

I thought of that movie and the way that money and commerce override public safety when I heard about the tragic story of 2 year old Lane Graves who was snatched by an alligator at the Disney Grand Floridian resort while wading (with his family) in waters in the Seven Seas Lagoon only 1 foot from the shore. It must be noted that there are signs posted that say "No Swimming" but absolutely no signs whatsoever warning that there are alligators in the waters which is stunning to me. I remember hiking at Griffith Park in LA and other areas where you routinely see signs warning of predators in the area.

Now while many of you reading this will undoubtedly think or say that anyone who is in Florida should be well aware that alligators are potentially in any waters but remember that Disney World caters to people from all over the world who aren't accustomed to these predators.

Even more importantly, Disney World bills itself as a family friendly safe environment. The area where the child was killed had a playground on the beach. What would be the harm in signs warning of alligators in the water? Seeing this warning will surely impact a father and mother more than a "No Swimming" sign. I would even go farther and say that besides posted signs warning of alligators that warning info should be handed to those checking into the resort.

A friend of mine was surprised that there is not a fence present at this Lagoon seeing you shouldn't swim anyway. A fence would prevent people from entering the water and I would suspect it would hinder an alligator from exiting the water as well. Of course, a fence would make for a less idyllic setting. It would ruin the postcard perfect scene.

So I have to ask, is the corporate decision to not post warning signs for alligators because it could (in a sense) ruin the towns economy? In the movie "Jaws" Mayor Larry Vaughn finally allows signs to come up after blood is spilled. Will Walt Disney World Resorts do the same thing? It is the right thing to do. Commerce should not override public safety. The Disney World Resorts already have an extensive alligator abatement program in place, warning signs and barrier fencing should be part of this program and should of been all along.

My deepest condolences to Lane Graves' parents and anyone who was graced by his presence.
-
Robb Donker

Sunday, June 12, 2016

Gileah Taylor - "Songs For A Late Night Vol. 2" Is A Stunningly Beautiful Sci-Fi Inspired Album (review and stream)

Gileah Taylor's latest album "Songs For A Late Night Vol. 2" opens with the song Alec. Gileahs voice opens alone, stark and intimate so much so that you get the sense that the compelling vulnerable performance will be only her and then you get the slightest hint of a sound, a drone that turns into the recognizable deep swell of organs, church organs. The wash of sound overtakes her vocals and become larger stronger until they clip off to reveal Gileah's voice naked again.

It is an incredibly engaging beginning. Listen with headphones in a quiet place and you will find goosebumps scatter on your arms. The next track Tears Of A Spirit pulses with such a dreaminess undertow (although the song has beautiful pop hooks throughout) that early on you get the feeling that this entire album will be a decidedly dreamy ethereal experience.

Gileah says the album is sci-fi inspired and lyrically driven by not only her experiences but her interest in the writer and poet George MacDonald in fact the track If I Was is attributed to his novel Sir Gibbie.  If I Was is folk and dreams stirred up with an almost light glamish underbelly. A wonderful rich dynamic track with some melodies that somehow made me think of that kind of suburban 50's white picket fence pop music. Also a strong whimsical sense which made me feel like this was a kind of blend of Sea Of Bees (Julie Baenziger) and Flo and the Machine. I got a touch of Sea of Bees in Happiness Hill too. When Gileah hits those tender high notes you can feel your heart develop a hard crush. Kudos to the kind of outro production wise.

It's An Art continues the dream but when it a couple of minutes in the electric guitar ruminates on this delicious run and the drums kick in that song becomes something else. Still dreamy but with these rock chops it feels like dream theater. Very cool. I could of taken a build up that was 3 time longer and larger. You can feel the sci-fi heart on John Of The Four Track Heart. Gileah's voice may have a synth-ish filter (just a bit) in spots that lends itself even more to feel like some kind of post industrial future. It is very cool and kind of made me think of 80's Georgia Moroder and Bowie even in terms of looking to the stars.

I'll Be A Mountain and Going Home feel like they will span folk and country and pop audiences all at once.  They might be the most accessible in that sense, have the widest reach but, in truth, feel a bit safer, more commonly wrought or derivative than the other songs on this album. Feel less dreamy and thus feel a wee bit out of place with the other tracks. They are on their own beautiful songs though. Only One is a sultry slow burn that eventually erupts into a dark tortured love song. I could hear this in a Bond movie.

The last track on "Songs For A Late Night Vol. 2" is the Other Side. The melody stays steady then chases itself as Gileah's vocals and acoustic guitar lines mirror each other. This song reinforces what you discover during all the songs that Gileah's voice is not only beautiful but holds so much emotion in it's lilt. As the beauty of the acoustic guitar and her voice end, pearly orchestration gives way to those amazing Church organs and the result shifts the ballad into full on dreamland of Donnie Darko proportions. Such a great deeply moving end to what is ostensibly a stunningly beautiful album.
-
Robb Donker

(Note: "Songs For A Late Night Vol. 2" is available on Vinyl as well as Itunes, Bandcamp and Amazon)




Sunday, June 5, 2016

I Didn't Think That Donald Trump Would Win The Presidency That is Until Hannibal Buress Said It Would Be So






















Amazing photo by Shubham Kadam

So yesterday was my birthday and the gift from my daughter was tickets to go see Hannibal Buress at the iconic 40 Watt Club in Athens, Ga. I absolutely love Hannibal, big fan of Broad City and I love the 40 Watt and I love hanging in Athens. This is the recipe for a perfect night. My wife and daughter headed out. The rain that dumped on us earlier in the day had subsided. Easy drive as usual. After some last minute dining decisions or rather musical chairs (we were seated at a cool Burger joint but left after perusing the menu and wanting something more exotic) ended up at a Korean BBQ place called the Iron Factory which was amazing. Kind of hibachi style but on a different kind of cooker. Great server- great food.

A video posted by Robb Donker (@americanrobb) on


As is often the case, we got to the venue later than we had planned and the 40 Watt was jammed up full of people. I would say that they had roughly 350 chairs set up and the rest was standing room only. Only two seats together available so my daughter graciously told us to take them and she would stand up. We, after all, she said, "are old". The truth hurts but so be it.

Now this, persay, is NOT a review of the show but I must say that is was top notch in every regard. Buress tours with DJ Kim who played some killer tracks while odd and funny video played on screen. Byron Bowers who grew up in Atlanta opened up and he was hysterically funny and his set was way to short. Hannibal Buress came out to a completely packed room. Every seat filled and people hanging on every other piece of real estate in front of both bars and at the back of the room and the man killed it. He destroyed.

One side note: I was pretty amazed how tightly they observe the no filming, no pictures rule and while I understand it completely it would of been nice if Hannibal let everyone go paparazzi on him for one minute before his set. He could of played it off as a bit like posing like he was killing it and everyone take pics. Yeah that's me giving Buress advise on creating a bit.

In short, hands down perfect evening. Packed house that laughed at all the right stuff. Fun totally up crowd and two funny guys. Fucking perfect. Buress's comedy adeptly covered so many things and he did touch on politics a bit. Not a lot but his take on Trump, Clinton and Sanders were telling. In mentioning Sander (which by the way got an approving response from the crowd) his main take was that Sander is too old and funny jokes did follow but his comments about Trump were not only ha ha funny but funny in almost a gallows type of humor. The assertion that being roasted on Comedy Central (as Trump was ) should be, in and of itself, a disqualifier to being President is point on ("should Flavor Flav be President") and so funny but there was a point in the show when Buress's insightful comedic commentary grew dark. I swear that for a split second a cold pall befell Buress's face that was more to do with his belief (as horrible as it would be) that Donald Trump will be President.

Hannibal walks around on stage a lot, his body language emphasizing his funny outlook on things but he sat on a stool at the moment he declared that Donald Trump will be President because he was less evil than Hilary Clinton. Yes, he back tracked a bit on the "evil" statement but simple said that Clinton has way more skeletons in her closet than Trump and that those skeletons would be brought out over the next 5 months and as a result Trump will win the Presidency. The bit was funny, people laughed but I tell you (again) this was a real shit moment.

Now am I saying that Buress is some sooth sayer or that he is saying something new? Not at all but then again sometimes kernels of truth hit you squarely in the face in places when you least expect it. After all, it was Buress's comments about Bill Cosby as a rapist that reinvigorated those allegations that spanned decades. Why did a comic's pointed words blow up in the media when victim's words laid kind of flat. These are questions for people smarter than me to answer but he was the first domino. I am just wondering if Buress is one of those guys that say, "I told you so" a lot to his friends. That Hannibal is a good predictor of things, a comedic Paul Revere. Who knows. All I do know is that I didn't think that Donald Trump would win the Presidency until Hannibal Buress said it would be so and I ain't laughing.
-
Robb Donker

Saturday, June 4, 2016

I Don't Need A Place of Worship I Just Revel In the Church Of Future Islands with Sam at the Pulpit



















Checking my emails this morning I found a message from a young man who attended a Future Islands show that I shot (on video) at Alex's Bar in Long Beach way back in 2011. Apparently he goes back to these videos often because that particular night is when Future Islands infected him with the madness. It is what front man Sam Herring and the boys, William Cashion (bass and guitars) and Gerrit Welmes (keyboards and programming) do to you. If you have been fortunate to see them live you will feel your eyes grow large and the muscles in your face tense into a deep smile.

Musically their synth pop is sprite and smart with heavy bass lines and dramatic ebbs and flows with thick walls of synth sounds. It feels like a sonic deoxyribonucleic acid hybrid of bands like Depeche Mode, Caja Gugu, Gary Numan, Giorgio Moroder, Erasure and U2. The U2 element is an important one and not readily comes to mind when you listen to Futute Islands but there is something soaring, anthemic and laced with hope that comes through. As dramatic and engaging the music is ultimately, what give Future Islands their uniqueness and emotional gravitas is the messages buried in the music and the messenger up front himself.

Sam Herring stands alone in the way he performs. His vocal performance has a "too much cigarette smoked" R and B tone that from time to time shifts into a guttural heavy metal growl. He beats his chest, pulls out dance moves that exist somewhere in a nerd universe, stands in poses that look almost classical or Shakespearean as if he is contemplating his place in the world. He gets down on one knee at the edge of the stage and looks right at you, not past you mind you but at you deeply. He connects. Now mind you he has done all this since 2006 and played live shows extensively for years chipping away. Depending on who you talk to the boys toured anywhere from 1 to 5 years straight until the point of burn out and it is those connections they made with all those people who witnessed what they do and were changed in some way who helped propel them forward. What Sam also does is to share pearls of inspiration of simple wisdom when he talks in between songs. He almost feels like a preacher of sorts and his message is hope, hard work and the pursuit of love all the while being damn charming and funny.

And with Future Islands songs love and the journey of life is what it is all about. There is an utterly timeless romantic quality to their songs. Recurring themes are life's struggles, the relentless pull of love, unrequited love, standing by someone through thick and thin, how past experience good and bad shape you and the mere miracle of life. All big and small notions delivered as vague vast imagery. It is sheer poetry for any time past, present and future.

While all the Future Island lovers soaked them in at live shows they did not burst on the proverbial scene until March 3rd of 2014 when they made their network television debut on The Late Show with David Letterman. They performed the song "Seasons" (Waiting on You)  and what will forever be know as "that Letterman performance" went viral. It was Sam Herring's vocal bravado and nerdish dance moves that brought praise and some pretty mean jabs too. It must be noted that a single performance of Future Islands is kind of a weird thing. It is like one line out of an impassioned stage play taken out of context. As mesmerizing as that performance might be seeing the boys in total on stage for a whole set is what makes you "get them". They are a band that you get or you don't. They are one of a kind. They are something special. Seeing the band live with a full adoring crowd is attending the Church of Future Islands with Sam at the pulpit. It is powerful, full of love and something you will never forget.

I really like this nearly 1 hour and 20 minute 2014 performance that NPR shot. It is the boys (with touring drummer Danny Bowen) at all their glory. The full show is a pristine look at what they do. It is them on a high and riding on all cylinders. It made me think of when I shot them at that small club in Long Beach, California when they played without a live drummer and the amazing William Cashion not only played bass but also acted as the light guy. Back then they would set up light triggers on stage and William would step on them at the appropriate time. They have come such a long way. Love them to death. Enjoy the NPR video and some time take a gander at the videos I show back in 2011.

-
Robb Donker




Friday, June 3, 2016

Why I Can't Get Grimes' Fallon Performance of "Flesh Without Blood" Out of My Mind



















All week Jimmy Fallon was on re-run mode and a couple of nights ago as I lay in bed the May 4th Grimes performance of Flesh Without Blood came on and again, I was so blown away from the artistry on display. I also realized that the performance hinged on a dozen elements that elevated the ultra catchy art rock electronica to something so much more that is usually not on late night talk show television.

Key to the allure is the lighting and super saturated color palette. The two dancers (Alyson Van and Linda Celine Davis) were downright amazing and a huge highlight. With movements that made them appear both in slow motion and cast through a strobe light I think they heightened the already kinetic feel of the track. Grimes and Hana themselves look like art pieces and their flair for abstract poised moves added to the hyper reality. And, of course, Fallon's director shooting the right shots from the right angles and cutting so artfully is the final element that if done wrong would of made the performance fall flat. In terms of perking my ears up and tingling my Spidey senses, this performance in the surprise meter is up there with the first time Devo appeared on SNL.  Amazing stuff and I keep coming back to it.
-
Robb Donker



Man Is Not A Bird- "Life And Levity" - Video Release - Title Single from EP Release Today - TRACK REVIEW



















Paris based 4some with the interesting name Man Is Not A Bird drops their first international release today. The EP is named Life And Levity and the title single video can be seen below. While the psychedelic images that remind me of reflections in gasoline tinged puddles of water are very dreamy, it is the sheer vast power and beauty of the track itself that has me hooked in.

Life And Levity with it's noise rock meets anthem rock aesthetic is so thick and lush. The song ebbs and flows, slows down to breath and then takes off running. The dynamic shifts push the emotional shifts. It is full of dramatic flair and again does it all with an all encompassing sound. Listen and feel the heavy thumpy thick guitars at 3 and a half minutes in and it sound so amazing only to lift off to something that sounds hopeful, kind of sad but uplifting as well. It gave me goosebumps. I will definitely have my eyes and ears out for Man Is Not A Bird and while they have toured extensively in the UK, Germany and Spain I want them to come here. To the United States and specifically the East coast so I can see them live. HEY, guys at Shaky Knees are you listening??
-
Robb Donker


Thursday, June 2, 2016

Youth Hostel - Debut Single "Out Of My Mouth" - Celebratory Indie From Liverpool

Hailing from Liverpool the boys from Youth Hostel possess a sound that feels as nostalgic as it does now. Maybe it is the guitar attacks or the heavy active dance-eee bass or the fact that lead singer has a wee bit of that Smiths-ish posture to his performance. I find it refreshing that his accent is fully on display here. Very cool upbeat and "up" track here.

Their debut single "Out of My Mouth" out on The Label Recordings has been played on BBC Introducing, BBC Merseyside and Radio 2.

Check out the video below:
-
Robb Donker