The Answering Machine Lifeline Interview

IN DEPTH: The Answering Machine open up to Jonathan Brown

AFTER being hotly tipped as one of Manchester and the UK’s next big things following the release of their 2009 debut album, ‘Another City, Another Sorry’, punk-pop foursome The Answering Machine have gone all DIY on us.

On meeting the eclectic collective in a chic Manchester bar, just days before the release of their anthemic follow-up, ‘Lifeline’, the one time buzz band, led by singer Martin Colclough, finally take time out from personally posting out band-made EPs and t-shirts.

Self- penned, produced and promoted, this record is a far cry from the heady heights of their A-list duets with the likes of Tim Burgess and cross-continental acclaim, as the band look back on successfully rejuvenating their sound.

Sipping up unassumingly to a backdrop of bare brick walls, cosmopolitan accents and rusty garden furniture, the wide-eyed enthusiasm of the group spills out in conversation over Thom Yorke, free vimtos and aborigine rock.

So how did the idea for Martin to produce the album come about?

Martin Colclough (singer): We were making a list of our dream producers just over there in this bar with our old manager and it was just kind of a dream list. Dave Eringa was top, who produced the first album, and other big producers were on the list and then we just added my name on the bottom. From that over the next couple of days we all individually just thought ‘why not all do it ourselves? We’ve got the equipment to do it’ and it didn’t seem that harder task in the end and it was the best thing we did, it really was.

Pat Fogarty (guitar): The whole idea of self production was that we all know the music better than anyone. Although they were all very diverse songs it brought a real linear structure and made them sound like they were part of the same record.

Gemma Evans (bass): It’s very hard to talk about creative stuff in terms of sound and getting the right words to describe them, so when you’re doing it yourself you can just do it without having to go and tell the producers what you want and them not quite understanding. When you’re doing it yourself you know exactly what you want and you can just do it.

Ben Perry (drummer): Although there was a dance class above our room so we did have to time our sessions right.

So how much more personal to you than ‘Another City, Another Sorry’ is this album, what can we expect?

M: With respect to the first album, we were very proud of it and what Dave (Eringa) brought to it as well. There’s a track called ‘Rules’ on this one which was literally the demo that was made way back. It was a really raw demo and we just kept that idea for the final thing, so that kind of feels personal to us because the listener hears it the way we first heard it, without it being put through this kind of gloss machine to become all top 40-ish.

P: We want people to listen to it and turn and say actually they’ve taken the time to think intelligently and creatively grow to sound different to their first record. They’ve not just churned out another bunch of songs that were like that punk-pop style that we had at the beginning.

Where did you write ‘Lifeline’?

P: Initially we started writing it over here and then we went to New York and Martin was in his element writing over there and came up with a couple of songs. We also wrote in Japan.

M: I think we’re quite good at getting little ideas from here and there but then we’re not really good at finishing tracks on the road so then we’ll bring them back. We work on best when we’re just locked away.

So how would you describe the way that ‘Lifeline’ sounds?

G: The way I always describe it is mature sounding. We were 20 when we wrote a lot of the songs in the first album and we’re all around 25, 26 now and we were obviously going to mature in that time.

M: I think it’s because we changed the dynamic of things. We found our live show especially was all on one level and it was in fifth gear all the time. I think if you bring some of those mellower moments into the set and into the album and it makes the bigger parts seem bigger and the smaller parts seem smaller.

What would you say to people who might suggest that you’ve changed your style?

P: At the end of the day some people are always going to want us to be that band who did ‘Oklahoma’ but obviously that’s not fulfilling for us. I mean we’ve got such eclectic, varied music tastes as it is, the four of us just wanted to represent that on this record and yes it might alienate some people but it might bring some people who had written us off at the beginning back to us. It might even turn new people on to us.

Was that style change a conscious decision?

B: I think at the bottom of it all, the songs have all got a definite pop sensibility to them like the first album, they’ve got a melody that shines through a lot more. It feels like we’ve used what we’ve got but stretched it wider.

P: With a tune like the title track, ‘Lifeline’, arguably it’s more catchier than ‘Oklahoma’, it’s poppier, it’s groovier.

M: Your references and your inspirations change over time and it seems silly for us to try and use the references that we were using way back in 2005 still now when they don’t really relate to us as much any more.

CHANGE: The Answering Machine embrace mature new sound

As far as commercial success and charting singles go, do you feel under pressure deliver sales?

M: I don’t think we’re driven by that kind of success, I don’t think we’re driven by commercial success as such, we just want the right kind of people to enjoy us, a credibility I guess, that’s all we strive for really. Although we don’t really sound like them, that Elbow kind of model, they’re never putting out pop songs as such, they’re just sticking to their guns and musically they’re very talented and hard-working, we’d like to think of ourselves as a younger versions of that maybe like scrapping away and someday will say “Yeah I get it now”.

How did this DIY attitude come about?

M: We used to think that the answer was money but I’d like to think that if we started over again as a band now and we got offered a major label deal we wouldn’t be so taken in by it. I mean I know it’s controversial about what Thom Yorke said about the record industry collapsing on itself within a matter of months but I guess we kind of agree in a way. Anyone can announce an album release on their own and sell stuff on their own website. So who needs a big labels to manufacture CDs and pay for adverts on the radio and this that and the other. We’ve kind of done it on a small scale on our new album with the new EPs and t-shirts that we’ve sold on our website. The majority of people still haven’t come around to this but at some point they will think ‘well the band that I love are actually making this for me directly. Why would I want some anonymous company on the high street to give it me in a little shitty plastic case, when the band can give it me themselves for cheaper.’

How would you compare your first two albums then?

G: ‘Another City’ was a snapshot of our lives at that age without a doubt and I think this is a snapshot of our lives as well. We’ve pushed ourselves more on this record.

P: I suppose in 30 years time we might look back and say which we prefer but we’ve played ‘Another City’ for the last five years pretty much. There’s no point in doing an album just like the last one so this time we brought instruments in that we haven’t used before, next time it could have other electronic influences and go down that route you never know.

(Interrupting and laughing) M: Operatic? or aborigine?

Do you get much support from other bands?

M: Manchester bands kind of stick with one another a lot of the time. Leo from Young British Artists works here actually, we chat about what we’re up to and what they’re up to. He even gave Ben a free Vimto. We’ve just got each others backs really.

What’s your stance on continually being compared to the Wombats, does it bother you?

P: It’s fair to say they used what they had more to their advantage than we did, we were quite humble and happy with what we had whereas we didn’t really see the money making side. I guess their record label saw that their ‘kookiness’ will help them sell more records, that’s no fault of theirs. But I suppose it is upsetting to see that maybe some of their fans could also be our fans but they don’t get the chance to hear us or they’re using up our budget as a label as well I don’t know but we’re not bitter about it at all. But again there’s a weird thing where, I use the example of Bombay Bicycle Club as it’s the first that springs to mind, we did shows with them here and there and we were like the fourth support band that no one had heard of and then we went to Japan and we were like on the same level. You live in a bubble a bit in the UK.

G: I definitely don’t want to be in the Wombats though.

How would you describe The Answering Machine journey so far?

G: It’s kind of like a story of survival.

M: The bands that we listened to, to start this band, were Shout Out Louds and The Radio Dept. and if you go back four years when we were doing interviews we were like giddy kids talking about these people. Now we can look back and say we’ve played a ton of shows with Shout Out Louds and we’re about to play a show with The Radio Dept. in Manchester. It’s a dream come true I guess.

The Answering Machine’s second album ‘Lifeline’ is released on Heist or Hit Records on February 21^st.

Also published on www.virgin.com

http://www.virgin.com/music/interviews/the-answering-machine-lifeline-interview/

Was Davies a Missed Opportunity?

AFTER an impressive second debut for Stockton-born Andrew Davies against Millwall last week, it does make you wonder where that dominance at centre-half was during his first spell on Teeside.

To be fair it’s probably too early to judge Davies’ ability since his return to the club where he started his career, but the defender’s mature performance at The Den makes you question whether letting him leave in the first place was the right decision.

Several home grown Middlesbrough players have reportedly not made the standard at the club before going on to prove former Boro bosses Gareth Southgate and Steve McClaren in particular wrong.

Youngsters including James Morrison, Chris Brunt and Danny Graham have been shipped out after not impressing Boro gaffers before going on to make serious names for themselves at other clubs.

Morrison, who left for West Bromwich Albion in 2007 for an initial £1.5million, has gone from strength to strength since Southgate let him go, becoming a regular in the Scottish national team and playing week in, week out in the Premier League.

His West Brom teammate, Chris Brunt, never made a first team appearance for Boro but after dropping down to League One with Sheffield Wednesday in 2004, he has since lit up the Premier League.

Watford’s Danny Graham also failed to make the grade, leaving for Carlisle United in 2007 after a series of lower league loan spells from Boro, but the forward has since silenced the doubters as the current top scorer in the Championship.

Bringing any of those three in particular back to the Riverside would put a smile on even the most disillusioned Reds fan’s face but unfortunately their success elsewhere, combined with Boro’s poor financial state, renders it all but impossible.

In a strange turn it could be argued that those players, once deemed not good enough for Middlesbrough, are at present out of their financial league.

Obviously there have been tens of local youngsters who have gone and proved the Boro hierarchy right in letting them go but still it seems that more and more players are slipping through the net, something the club can ill afford to do at present.

The loan signing of Davies however could be one that rejuvenates both the fortunes of the club and those of the player, who has seen his stock decrease massively during a three year career nose dive of loan moves and reserve team football.

Having spent the most successful years of his career at Boro, Davies managed to win his only England U21 cap in 2007 but within a year his move to Stoke City from Southampton had turned sour.

The 26-year-old, who spent ten years with the club before his 2008 transfer to Southampton, wasn’t even included in Tony Pulis’ 25 man squad in January, making him ineligible to play for the club for the rest of the season.

So the strong centre-back’s return could well be his chance to prove to the Boro faithful that Southgate’s decision to let him leave was the wrong one and that he can be one of the few exiled youth players to come good back at Boro.

Aged just 23 at the time, Davies had arguably not reached his full potential by the time of his departure whereas Graham was 21, Morrison was only 20 and Brunt was just 19 when he left the Riverside.

Despite this, Southgate and McClaren were managing Premier League teams when they let these players go and as much as fans have welcomed Davies’ return, not many were bemoaning selling him in 2008.

More patience in these cases where relatively unproven youngsters, who had not yet hit the heights as first team starters, could well have sprung more Adam Johnson-style success stories.

And if anything these past examples, whether Davies proves a success or not, should mean that judging players who are given those first team opportunities early on should be done with caution.

However for Davies at least a string of positive results, continuing against QPR on Saturday, could well start to bring around those who supported his departure.

And a more understanding view on the Boro youth should make that list of missed opportunities in the future a non-issue.

Also published on www.oneboro.co.uk

http://oneboro.co.uk/was-davies-another-missed-opportunity-24-02-2011-352.html

Answering the Hero Worship Call

MATURE: Manchester band are looking forward with 'Lifeline'

AS self-proclaimed “giddy kids” upon their 2006 conception, Mancunian indie-pop four-piece The Answering Machine have embarked on gigs in Japan, America and headlined UK tours but for now they’re looking closer to home for their kicks.

On meeting the former University of Manchester students in the cool, vintage-looking Common, in the city’s Northern Quarter, there’s a definite sense of self assurance on the eve of the release of their second album ‘Lifeline’.

A band from humble beginnings, who fit right into the bare brick, cosmopolitan backdrop with instruments in hand, fresh from practice at a nearby rehearsal studio, they still carry that approachable image from their early days.

Initially started by lead singer Martin Colclough and guitarist Pat Fogarty, the group soon took shape with the addition of bassist Gemma Evans and a battered drum machine nicknamed ‘Mustafa Beats’ five years ago.

Before long the skinny jean-clad, indie trio were being tipped for big things, yet only after being courted and dropped by a major record label before ever signing up did they finally hook up with DIY specialists, Heist or Hit Records.

Martin explains: “We didn’t have the drive to be like this self sufficient indie band, it was more a case of wanting to be successful and we thought the answer was a label giving you money and buying you the tour you need and all this.

“We understand now it’s a lot more about hard work but I guess it taught us a lesson, it’s a self fulfilling prophecy, if you want a sold out show in Manchester you have to work hard for it.”

The group, who self-produce their work, also self-promote and even are integral to the running of their London-based label.

Mustafa was soon binned under Heist’s tutorship and drummer Ben Perry filled the gap that the electronic enigma had left, before the band finally released their debut album, ‘Another City, Another Sorry’.

Sat crowded round a small coffee table, the group remain fully aware of the pitfalls that come with the kind of hype that they received.

Timid drummer Ben continues: “The first album’s definitely something to be proud of but it’s mad when you see bands come through and get the hype that we did, get loads of support from the media and then the next minute they’ve split.”

Pat weighs in: “It’s weird to think when we’ve got friends on major labels, the whole expectation of what you are basically all of a sudden is not about writing the best pop or whatever.

“It becomes about how many gigs you sell out, how many units you’ve shipped and if you chart.”

And it wasn’t long before the music press began to categorise and pigeon hole the foursome as Wombats-esque, although they actually started out at much the same time, something which doesn’t seem to sit terribly well with the group.

LIFELINE: Second album now released

“It’s fair to say that they used what they had more to their advantage than we did, we were quite humble and happy with what we had whereas we didn’t really see the money making side,” Pat explains.

“I suppose it is upsetting to see that maybe some of their fans could also be our fans but they might not get the chance to hear us, but we’re not bitter at all as it’s no fault of their own.”

Charmingly down to earth, the group let the conversation flow and jump in whenever they feel the urge. These aren’t giddy kids anymore that’s for sure, as they settle into conversation about ‘Lifeline’, which was launched at The Deaf Institute last week.

Self-penned and produced, the 11 track ‘Lifeline’ album is an upbeat collection of mellow indie-pop anthems which the band claim is much more personal to them than its predecessor.

Slurping his drink through a straw, outspoken Pat adds: “There was no point in doing an album just like the last one, so this time we brought instruments in that we haven’t used before.

“Next time it could have other electronic influences or we could go down another route,” before Martin interrupts, laughing: “Operatic? or aborigine?”

Now it remains to be seen whether aborigine indie-pop takes off but there is a certain optimism about the band and their new album, particularly as Mustafa Beats has made a cameo appearance from beyond the bin.

Gemma explains: “The way I always describe it is mature sounding. We were 20 when we wrote a lot of the songs in the first album and we’re all around 25/ 26 now.”

Yet despite having supported bands like The Manic Street Preachers, The Rumble Strips and Tokyo Police Club as well as having played with their Mancunian friends The Charlatans, the grounded four-piece still get star struck.

“For me when we toured with the Manics, James Dean Bradfield didn’t really make me star struck like you might expect but Nicky Wise just had this thing about him,” Gemma grinningly reminisces.

“I mean I didn’t even grow up as a big Manics fan but even I was like ‘Yeah that’s pretty cool’.”

In fact The Answering Machine have also become synonymous with video game, FIFA 10, after their song ‘It’s Over! It’s Over! It’s Over!’ featured on the game’s soundtrack, but that is no measure of success for the group.

Martin adds: “I don’t think we’re driven by commercial success as such, we just want the right kind of people to enjoy us, a credibility I guess, that’s all we strive for really.”

Slurping up the dregs of their assorted drinks, everything from a rock and roll mid-afternoon beer to a less so vimto, the eclectic collective have little in the way of a master plan. If anything it’s more of a dream lifestyle that they aspire to.

“We do enjoy going on tour and stuff but that’s not what drives you, it’s all about writing that sound or writing that album,” Martin explains.

“Once we’ve put together ‘Lifeline’ it justifies that lifestyle and that travel around Europe and all that, but that’s another dream.”

The Answering Machine’s second album, ‘Lifeline’, is released on February 21^st before they play at Manchester’s Sound Control on March 24^th.

Also published on www.thenatter.co.uk.

http://www.thenatter.co.uk/2011/02/answering-the-hero-worship-call/

Album Review: The Answering Machine - 'Lifeline'

LIFELINE: Second album finally released

AN UPBEAT, jumpy and utterly catchy debut for The Answering Machine, with their widely praised full on indie-pop delight of an album, ‘Another City, Another Sorry’, meant a lot was expected from the Mancunian quartet’s second record.

Often it is said that the first sequel is always the hardest to get right but the band’s second album, ‘Lifeline’, is a somewhat different animal to its predecessor, in part due to the fact that it was self produced.

Rather than those raucous guitar riffs leading a high tempo sound, this offering shows us a softer and mellower side to the group.

The first single to come from the album, ‘Animals’, is a great example of a slow roast guitar fest, with glittering strums mid-verse, before an upbeat riff and synth combination transform Martin Colclough’s clear vocals.

Title track and second single, ‘Lifeline’, is another track that experiments with an electro undertone that underlines an ever-changing guitar riff before the mid-tempo chorus is let loose as Colclough sings: “throw me a lifeline, I know we’re going to work this out”.

‘So Alive’ is a delightful retrospective summer road trip of a song, taking you on the proverbial Answering Machine tour bus with Colclough’s innocent sounding narration covering a bright and bouncy guitar riff and tinkling electronic soundtrack.

Few lowlights attempt to blur this 11 track collection of upbeat, low tempo delights although ‘My Little Navy’ and ‘Romance and Square’ don’t deliver quite as much as personal highlight ‘3 Miles’.

The former is a sweet lullaby that can pass you by a little bit before a rockier guitar section takes precedence, whereas the latter’s chorus isn’t as strong as the title track for instance although its pacey beat rings of Two Door Cinema Club.

The four minute, love-laden ‘3 Miles’ combines emotive acoustic and electric guitars, stretched out harmonies from bassist Gemma Evans and some beautiful lyrics, none more so than, “the veins, the blood, the cracks in the street, my heart breaks a little more with every beat.”

It rings of self-production and that patience that is so evident in the charmingly raw ‘Rules’ that’s retro sounding instrumentation sounds more Simon & Garfunkel than fresh indie, but it just works.

One track that could easily fit in their first release is the surging ‘Hospital Lung’ that’s juggernaut of a guitar-riff powers throughout, barring some great tempo changes that serve just to reel you back in.

Overall The Answering Machine have delivered a follow-up befitting of their first album.

A change in direction that adds more depth without changing the band’s ethos as one that knows exactly how to deliver a catchy chorus has paid serious dividends here.

9/10

Also published on www.virgin.com

http://www.virgin.com/music/reviews/the-answering-machine-provide-a-lifeline

Live Review - Brother

Seemingly the biggest buzz-band of the minute, Brother, and their arrogant press mystique, have been stealing the covers of music press magazines as part of a Gallagher-esque renaissance.

But aside from the hype, the quartet, who arrived in Manchester on the back of fantastic support act, All The Young, had a lot to live up to in the newly refurbished Ruby Lounge.

Branded as “little posh boys with tattoos” by Liam Gallagher, Brother kicked off their self-labelled ‘Gritpop’ set with a track called ‘Fly by Night’, which inevitably had that Oasis-inspired twang and warmed up the crowd nicely.

Arriving on stage with a backing singer and an extra percussionist however does make you wonder whether they are quite as raw as we are led to believe.

Lead singer Lee Newell’s blatant arrogance and brash Brother demeanour, summed up by his statement that they decided to write some songs that turned out to be the best songs of the last 20 years, was surprisingly absent from Manchester however.

In fact after their opener, an over-excited audience member jumped on stage and rather than him being kicked off stage by Newell himself, he was welcomed on, as Newell said: “You can be our Bez”.

The Slough-natives then played the hum-along anthem ‘New Year’s Day’, with its gritty deep guitar soundtrack, harmonic vocal interludes and high pitched chorus, to really get the crowd going.

Soon after ‘Bez’ was taken off stage by a burly bouncer, with Newell saying that he felt sorry for him having to leave the stage. Not quite the ASBO attitude the crowd was expecting.

‘Darling Buds of May’ soon followed, announced by its opening lyrics, “I burned the kitchen down, you told me oooo”, and then that infectious chorus and unbelievably catchy guitar riff kicked in.

Sprinkled with Gallagher-esque “nooooows”, Newell’s singing was a Britpop tribute reminiscent whether you love them or hate them, you cant deny are quality tracks.

A slower number in the form of ‘David’ calmed the jumping section of the crowd down as Newell dramatically took off his jacket to unveil the band’s uniform button down collars.

‘Time Machine’ ended the set well, which rings more of Kasabian than anything, with its ringing bass and rangy chorus, still in that cringingly named Gritpop mould.

This short, sharp appearance left the fans wanting more.

Proving a great introduction to Manchester, this tight and persuasive performance brought the doubters round to the Brother way of thinking despite the lack of headline grabbing quotes.

Also published on www.virgin.com

http://www.virgin.com/music/reviews/oh-brother/

There Haas to be Changes

AFTER last week's toe curling 4-3 defeat to Swansea at the Riverside Stadium and what can only be summed up as a shambolic defensive performance, Middlesbrough FC fans are again feeling the breath of relegation on the back of their necks.

From a commanding 3-1 lead with less than half of the match to go, Boro capitulated after mistakes from Julio Arca, Jason Steele and the majority of the defence made it two losses in a row for the Reds.

Now then, it seems quite evident that the Boro backline is well under strength, which is obvious given the absence of defensive duo Matthew Bates and Stephen McManus, while Boro’s reserves are being raided for cover.

Seb Hines and Jonathan Grounds were largely frozen out under Gordon Strachan, in part due to two woeful displays against the attacking might of Jack Lester and the cauldron that is the B2Net Stadium.

Grounds in particular was guilty of underperforming that night against Chesterfield and was subsequently shipped out on loan to Hibernian where he proved a valuable asset, making 15 appearances for the club.

But recent poor defensive performances have put the pair back under the spotlight, with many of the diminishing Riverside regulars questioning their roles at the centre of defence.

As a result murmurs of a change of defensive tact are being discussed in detail by fans, particularly as recent defensive signing Maximilian Haas is yet to play for the first team.

However Haas, like Merouane Zemmama, is another player that seems to have high expectations weighing on his shoulders but again Boro fans should remain realistic as to his talents.

The very fact that he is German appears to have many convinced that Haas is the next Robert Huth despite the fact that he never made a first team appearance for Bayern Munich.

Huth is a German international former Chelsea player who cost the club around £6million while Haas only signed an 18 month contract, arguably as a get out clause if he turns out not to make the required standard.

In addition, the fact that Haas has never played at a higher standard than the third tier in German football, as German second teams aren’t allowed to play in the top two divisions, doesn’t bode well for the Huth comparison.

Thankfully Tony Mowbray has brought in reinforcements of a known quantity in Andrew Davies from Stoke City on a loan deal until the end of the season.

Davies wasn’t even registered in Stoke manager Tony Pulis’ 25 man squad and although his return will be largely welcomed, if fans were told that Andrew Davies would return to save the club from relegation two years ago they may well have laughed.

The 26-year-old centre-back, who can also play at right-back could however prove to be an important signing in the absence of experienced defenders.

Some welcome good news that may strengthen both the defence and midfield is the news that Rhys Williams and Willo Flood both played 45 minutes for the reserves against Sheffield United’s second string in midweek although they still aren’t in first team contention.

Whatever happens, it does seem that Mowbray will make changes to the Boro defence for Saturday’s away game at Millwall but throwing Haas or Davies in at the Lions’ Den may be a gamble itself.

Album Review: Alex Winston - 'Sister Wife'

SULTRY: Winston's debut EP looking to hit all the right notes.

THE sultry and often unconventional voices of 2010’s female solo artists relentlessly serenaded British ear drums with the likes of Ellie Goulding, Sky Ferreira and Adele taking centre stage.

And this barrage of sweet scented pop doesn’t look set to stop anytime soon with February 21^st set as the date for transatlantic songstress Alex Winston’s debut EP, ‘Sister Wife’.

This six song collection of self-penned and performed tracks, comes straight from the imagination of Detroit born Winston, with the added input of production duo, The Knocks, along with Charlie Hugall.

Having worked with Rihanna and Ellie Goulding, The Knocks’ latest collaboration was always going to get attention and the opener, ‘Locomotive’, grabs you from the off with an interesting mix of sounds.

Combining a heavy, unsubtle drum beat with Winston’s high-pitch vocal, an incessant tambourine and relentless acoustic guitar, this track is a pretty Kate Bush-style vocal with an at times grating accompaniment.

Winston’s best bits here come in the slower, stripped back moments, when her heavily echoed vocal is added to with that acoustic strum as she sings: “Come on call me sugar, call her honey, call me darling”.

Another song with a darker backing is title track, ‘Sister Wife’. After a tribal drum beat and soft string intro reminiscent of Lykke Li, Winston gets into her stride with a soft opening verse before the bouncy melody begins.

This time the mishmash of instruments comes together better in a full on, yet balanced, track with a darker undertone as she aggressively sings: “Hey there sister wife, get the hell out, it’s my life”.

The standout track however has to be the memorably bright and beautiful ‘Choice Notes’, starting off with a Lily Allen-esque piano and horn combo that tinkles its way through to a melodic, summery chorus.

Winston’s cute vocals work into an echoic lullaby before featuring heavily again in the harmonic 60’s throwback love song ‘Sweet James’.

The violin-clad ‘Don’t Care About Anything’ and closing track ‘Fingers and Toes’ again work around that high-pitched gift of a voice.

The former is a slow-paced, self-deprecating story of not feeling for others as she passionately sings: “Kick me, hit me, shake me, scare my ghost, I’m feeling comatose.”

Alex Winston’s beautiful and emotive vocals and evident song writing ability make her a star in the making, but the over-experimental leanings and at times grating arrangements are only small blots on a promising debut.

7/10

Also published on www.virgin.com

http://www.virgin.com/music/reviews/alex-winston-gets-sultry-on-sister-wife/

Is Merouane Zemmama the new Juninho?

OSVALDO Giroldo Junior grew up on the mean streets of Sao Paulo, Brazil, during the 1970s and 80s as a diminutive youngster with a passion for all things football.

From this little boy emerged arguably the greatest player ever to play for Middlesbrough Football Club. The 5ft 5in creator, playmaker and fan’s favourite, Juninho Paulista.

After lighting up The Riverside Stadium with his jinking runs and Brazilian flair, the infectious South American reinvigorated Middlesbrough during three spells at the club, the last of which yielding Boro’s first major trophy.

Since his departure in 2004, Juninho has been celebrated as a Boro legend and will always hold a place in the hearts of the club’s fans, but can anyone ever live up to his heroic reputation?

Every forward-thinking midfielder – and there haven’t been many – that has been brought to the club, since his final spell on Teeside, has always had the Brazilian’s shadow cast over them.

The likes of Fabio Rochemback, Gary O’Neil and Jason Euell have come and gone with mixed amounts of success, or none at all in the case of Euell, but can the latest arrival finally take hold of that attacking central midfield mantel.

Merouane Zemmama, who was recently signed for a nominal fee from Tony Mowbray’s former club Hibernian, has been mooted by at least one over-excited journalist as the next Juninho, the next Boro hero.

But in truth a reality check might be in order.

Juninho, when he was first signed by Boro, was a 22-year-old wonder kid who was attracting huge European interest whereas Zemmama is a 27-year-old playmaker who was signed for next to nothing from Scotland.

Their creative streak may well be a comparison worth making but Juninho went on to win nearly half a century of caps and a world cup with Brazil while Zemmama hasn’t even been a regular in the Moroccan side, making only a handful of appearances.

Without trying to crush Teesiders’ daydream fantasies of the African leading us back to the promised land, fans should not be overcome by suggestions of a quick fix, not least until he’s played a few games.

Mowbray himself has played down the signing to some extent. In talking to www.mfc.co.uk, he said: “Juninho was a superstar who came from Brazil - Merouane is from Hibs in Scotland.

"He's coming here not for a king's ransom, he's not a major signing, but it was too good an opportunity to turn down for very little money at a time when the club can't really afford to spend money.”

Despite all this Zemmama is certainly the type of player that has desperately been needed to revitalise the club’s fortunes over recent seasons as he’s a player to excite the fans and create chances.

As much as he has his own place in Boro folklore, Gareth Southgate made only futile attempts to fulfil his promise of bringing exciting, attacking football back to The Riverside with no exciting midfielders in sight by the time he had left.

As for Gordon Strachan, his frankly misguided attitude to what was needed to succeed at Boro and in the Championship itself left the club with few forward thinking players to speak of.

Even at present it seems Julio Arca, a former left-back, is our most creative midfield player, a far cry from the days when Juninho and Paul Gascoigne collectively ruled the roost for example.

Then again the unclear financial situation at Middlesbrough means that major signings aren’t going to be presented in front of the Boro faithful anytime soon, so expectations must remain realistic.

Remember ‘Brazilian Goal Machine’ Afonso Alves? He was the prime example of a player who was so overcome by expectation that he never came close to making a positive impact in a Boro shirt.

As a result Zemmama, who coincidentally would engulf Juninho in height, at a comparatively massive 5ft 7in, has quite sensibly disregarded such comparisons as he tries to establish himself at the club.

In spite of this, Zemmama’s capture could well be the catalyst for a push up the table before the end of the season and more importantly a rise in attendances at The Riverside that could form the basis of future success.

Also published at www.oneboro.co.uk

http://oneboro.co.uk/is-zemmama-the-new-juninho-13-02-2011-350.html

Album Review: Stricken City - 'Losing Colour'

FAREWELL: Stricken City call it a day as they release second album

A SWAN song, by its definition, is a parting gift and final hoorah from a band who has reached that pivotal point in their existence.

Unfortunately however, the aspirational, pulsing guitars and poignant vocals that lay behind the sound of London-based four piece, Stricken City, have only got them to their second and final album.

Their brand of flashback indie with deep roots in the 80s and bands like Blondie and The Sugarcubes was cut short in December when a downbeat statement was released explaining their decision to part.

It read: “Thank you to anyone who helped in any way, bought a record and came to a show. We never stood a chance.”

A farewell gig at The Drop, in Stoke Newington, London, on February 10^th will come just three days after the release of second album, ‘Losing Colour’.

This ten song collection of at times mesmeric alternative indie begins with opener, ‘Some Say’, which kicks off with a soft saxophone and chiming intro before summoning lead singer Rebekah Raa’s pure vocal that is reminiscent of the Cocteau Twins’ vocalist Elizabeth Fraser.

Mixed with yearning harmonies, this guitar-led track eventually gets into a trademark rhythm that pulses relentlessly, contrasting beautifully with Raa’s soft sound.

This is followed up by the band’s last single, ‘Animal Festival’, which uses the combination of a deep bass and powerful guitar to contrast against that infectious lead vocal culminating in a lovely layered sound.

Another highlight is the near seven minute marathon, ‘Pull The House Down Skellington Remix’.

A stripped back percussive start welcomes in layer upon layer of electronic wails, keyboard chords and echoed vocals as Raa sings: “We can talk it over, talk it over”.

More of a dance-based departure, this track echoes of New Order with a retro, almost Super Nintendo- style electronic beat taking the lead on what was already an impressive track.

For what is a farewell album, this collection pulls no punches as the band sticks to their C86 leanings, probably helped in part by the fact that ‘Losing Colour’ will be sold on a pay-as-you-want basis.

The group’s final single and title track, ‘Losing Colour’, is a xylophone-clad, earthy guitar-led dream song that encompasses the talent within this group and is a fitting goodbye single, summarised by Raa singing: “You open the cage and you let it out”.

But for all there is right with this album, there are some songs that bring little to the table. This is by no means an album to dance to, more one to reflect over but songs like ‘Office’ and ‘Corridors’ offer little in terms of catchiness.

The two almost personify their names, the former is a busy, whilst pretty, wall of sound and the latter is more of a thick-set juggernaut that endlessly powers straight on with another indulgent guitar at its core.

This throwback farewell is at times a powerful 80s revival with a vocal that is worthy of their predecessors, but the fact that Stricken City are splitting may in itself suggest that this brand of pulsing alternative music has had its day for better or for worse.

6/10

Also published on www.virgin.com

http://www.virgin.com/music/reviews/say-goodbye-to-stricken-city/

Two in Two Out

AFTER months of speculation and weeks of tense negotiations Middlesbrough FC fans finally got to see new faces arrive at the Riverside despite disheartening financial whispers emerging from Teeside rumour mills.

Merouane Zemmama and Maximilian Haas became Tony Mowbray’s first permanent signings as Middlesbrough manager after his promises to look at foreign and lower league players rang true.

Zemmama, a Moroccan international attacking midfielder, who was first signed by Mowbray at Hibernian in 2006, definitely sounds like an exciting prospect who will add some much needed creativity to the Boro side.

One slightly worrying fact to come out of the deal however is the player’s recent recovery from a knee ligament injury that has seen him start just four games this season after ten months out injured.

Haas, a 25-year-old German centre half, is somewhat unproven having never made a competitive first team appearance for Bayern Munich since signing in 2007.

In fact Haas was the captain of Bayern’s second string, who play their football in the German third division, although he was included in Louis Van Gaal’s first team squad in 2010.

The recently closed window also saw the farewell of local boy and former club captain, David Wheater, who in all truth was destined to leave if the club didn’t reach promotion almost immediately after relegation.

The other departure was one that has been mooted almost ever since his arrival at the club in 2007 and with a salary believed to be hitting £40,000 per week, saying goodbye to Gary O’Neil was never going to be difficult.

As a result an estimated £55,000 has been shaved off the weekly wage bill, which equates to over £2.8million annually. And no doubt Haas and Zemmama will be on nothing like that.

And despite pre-window expectations of a Gordon Strachan and Gareth Southgate inspired fire sale, with players like Kris Boyd, Julio Arca, Leroy Lita and Tarmo Kink linked with exits, this never came to fruition.

In fact at one point it seemed like quite the opposite as a Southgate reunion party took hold of Rockcliffe Park as Mido, Andrew Davies and Jeremie Aliadiere all trained with the squad in January.

Aliadiere may well have been welcomed and Davies could have been a good addition but instead the former Boro players have left to pursue their careers elsewhere.

In Mido’s case a return never seemed like more than speculation, particularly after he caused nothing but trouble since his extortionate £6million arrival in 2007.

His return to Egypt with Zamalek couldn’t have been more timely than if it had happened three years ago.

Previously I’ve spoken about Boro fans needing signs of encouragement, not only to bring the fans back through the turnstiles but also to make them feel like the club was still aiming for the Premier League promised land.

Now it seems with the addition of a couple of fresh faces and the prospect of a new midfield maestro in Zemmama, fans can begin to get excited about a team which has long since been something to smile about.

Haas’ addition also brings some welcome defensive cover and competition with Seb Hines and Stephen McManus for that central defensive berth alongside Matthew Bates.

However one area that was anticipated to see some changes was in the forward line, but with Boyd rejecting moves to Turkey and Russia, Lita staying put and flop Lee Miller being shipped out to Scunthorpe on loan, not much has changed.

In spite of this, the squad will be boosted by the return of Scott McDonald from the Asia Cup and of Marvin Emnes from injury.

And as Mowbray continues to put more and more faith into Boyd, having started the last three games, hopefully the big striker can start to repay the fans who pay his wages.

Yet Mowbray could arguably be credited with more than two signings since his return. The re-emergence of Dutch forward, Emnes, and long-serving left back, Andrew Taylor, after successful loan spells have been particular highlights.

After being labelled as relegation candidates and with Mowbray even being talked about as under pressure only a few weeks into his tenure, the legendary former player has silenced the doubters.

A slow transition from what Strachan saw as a hard working squad, who in all honesty didn’t look like they could string two passes together earlier in the season, has seen a side emerge that are finally bringing home results and starting to play good football.

Coming into an immensely important run of fixtures that have seen Boro play league strugglers like Preston, Scunthorpe and Bristol City as well as high flying Leeds and Norwich, Mowbray’s men have impressed after going six matches unbeaten.

Boro’s first game since the window came to close was also a hopeful sign of things to come, as the club continued its impressive start to 2011 with a 2-0 home win over struggling Scunthorpe.

Despite all this two foreign signings aren’t going to solve all of Boro’s problems but making the most of what was already a decent set of players, with these additions and a passionate manager with the right mentality, will hopefully go some way to doing that.

Also published on www.oneboro.co.uk

http://oneboro.co.uk/two-in-two-out-03-02-2011-348.html