brody & quint – 20 Feet Beneat the Sea

brody & quint serve up an intriguing alt.country folk-pop mix, which they’ve been taking to audiences in London and beyond this year.

The engaging vocals of Rosemary Harrison, with harmony and occasional lead from Mark Barlow, are supported by delicate guitar picking and the cello of Jess Cox. From the soaring chorus of Roses to the wistful meandering of The Frozen Frame, the band keep it deceptively simple, at times sparce and always intimate and moving, a formula which has seen them gain airplay on SBN and Sound Radio and a spot on Nomad AM Records compilation One.

The 20 Feet Beneath the Sea taster cd has garnered many positive reviews which can be found on the brody & quint web site

Brand Violet – Voodoo

Voodoo Brand Violet have been kicking around the London indie scene for several years now, leaving some of us wondering how it is possible for this band to have remained such a well-kept secret for so long.

It seems that the word is starting to spread, and the release of the Voodoo single ahead of the band’s debut album Retrovision Coma USA confirm that this is a band to watch.

Having seen them live, it’s hard to imagine how anyone could capture the slow-burning energy, power and pure sexual tension of vocalist Sally-Anne Marsh and the band’s impossibly self-contained atom-bomb-in-a-biscuit-tin sound. Voodoo, like Alien Hive Theme before it, comes close.

Making comparisons is a poor and lazy journalist’s way out of doing any work, but I’d file Brand Violet somewhere amongst Man Or Astro Man, Blondie, The Pixies and possibly the Cardigans at their naughtiest and most interesting. Suffice it to say Voodoo would fill the floors of clubs and BDSM clubs alike, with both audiences equally confused and equally enthralled.

LOGO Magazine seems intent on tipping Brand Violet for future success and a bright light in the vanilla-flavoured UK musical soundscape of 2004, and I’m pleased to join them.

Brand Violet / Voodoo’s appeal, and brilliance, lies in the easy reference points that make the band accessible — great for lazy journalists — contrasted against a sound, when those reference points are melted together, that is simply unmistakable.

Do Voodoo!

— JdP

Reviewer: Juan dos Passos

Related Link: Official Band site

The Earlies!

Their album, These Were The Earlies will be released on 12 July 2004 through 679. They will be playing here live next month:

  • 12 July – Goodnight Club, Burnley
  • 14 July – Eat Your Own Ears night @ The ICA, London
  • 15 July – Band On The Wall, Manchester
  • 16 July – King Tut’s, Glasgow
  • 20 July – XFM Xposures special @ Barfly, London


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www.theearlies.com

The Earlies will also play the Green Man Festival in Wales in August.

Read on for more info on The Earlies… THE EARLIES

Produced on both sides of the Atlantic and with a palette of sounds almost as wide; The Earlies music combines layered vocals, imaginary instruments, and subtle electronics with manipulated performances from a well of exceptional musicians on the Burnley and Manchester underground.

“Oboes, cellos, Mercury Rev-esque psychedelia, a deft lyrical touch, a tune more gorgeously soothing than a head massage from Helena Christiansen and all shot through with spine-tingling slivers of electronica” – Guardian

Residing in Northern England and Western Texas the four Earlies geographical differences and individual styles were brought together by a love of the three B’s, The Beach Boys, The Byrds, and The Beatles. All get a gracious nod on The Earlies debut album “These Were The Earlies” alongside more obscure Psychedelic, Progressive, Leftfield Pop and Country influences. With their current single “The Devil’s Country” they’re more genre defying than ever before.

“The Devil’s Country sounds like nothing else around…there really doesn’t seem any point in trying to draw comparisons, because they are quite simply a law unto themselves. And for that you’ve just gotta love ‘em” – DJ

The Earlies lovingly crafted music is the culmination of many years posting and emailing ideas back and forth. The successful honing of their chaotic ‘whoever’s available’ studio approach has recently seen The Earlies take on production duties for other artists under their Names On Records guise.

In the three years since The Earlies first started putting out their own music they’ve signed to Names records and BMG Publishing, gathering praise from an ever-widening spectrum of fans. NME said recently Rough Trade 7″ Morning Wonder is “a truly beautiful pop record… ‘Eight Miles High’ era Byrds trade super-heavy bong hits with a melodica-toting Augustus Pablo. God Bless you Earlies you are the bomb!”

The first two singles “Song For # 3″ and “25 Easy Pieces” were similarly well received. “A gem of a record…..almost indescribably cool.” said the Fly. “Truly modern chill out music” said Muzik magazine.

The Earlies singles series continued with EP4 the first release on Names. EP4 was their most perfect blend of songs and instrumentals yet. The second EP “The Devil’s Country”, a companion piece to EP4, precedes the release of the highly awaited debut Album “These Were The Earlies” on July 12th 2004.

From those first chance meetings, in Texan record stores and Manchester studios, to their triumphant, football team sized, live shows The Earlies believe their “musically simple, sonically tricky” approach should always be entertaining. With more music, live shows, radio sessions and festival appearances on the way The Earlies plan to entertain for some time to come.

The Earlies are JM Lapham, Giles Hatton, Christian Madden and Brandon Carr.