New Release - The Best Of Whimsical. Press Release and Reviews.

THE BEST OF WHIMSICAL - 21 TRACK COMPILATION - Released February 7th 2011

Ever since the emergence of the Edinburgh born Whimsical Label in 1999 and their subsequent growth spurt in 2005, their artist roster has grown to an impressive and deep quality in a short period of time. With the likes of Jack Butler, Alfie Kingston, The Encierro and Natasha England releasing incredibly strong material on Whimsical or subsidiary label Platform, it is not forthright of them to release what can be deemed as simply an excellent ‘Best Of’ LP. This record makes even more sense in light of the support the label has been receiving throughout the industry via such respected institutions as XFM, NME and BBC Radio One.

The beauty of this ‘Best Of’ is immediate. The quality and diversity of the collection showcasing some enthralling sounds, demonstrating that Whimsical supports fantastic music rather than a particular ‘look’ or genre to back up it’s existence. The amount of variety contained on this LP makes it a true pleasure to listen to.

As well as including Whimsical’s biggest and crowd pleasing releases on here that have already received rave reviews from the industry such as Jack Butler’s “Velvet Prose” and Sunshine Variety Club’s “The Girl With The Crooked Smile”, there are as one might expect some beautifully crafted tracks to be admired and enjoyed over and over again. An album which takes you from 0 to 60 and back down again as quickly as you got there, making you sit up and take note of the truly excellent music. Refreshing turns such as the jazz like breezy ramblings of Natasha England on “I Casually Strolled By” contrast the more traditional Indie musings of Vegas Nights in “It Came As No Surprise” and then again to the haunting key sounds and beautiful harmonics of Emporium’s “Mind Games”. Dig deeper, and you get to see the real secret to this compilation’s appeal - it’s diversity.

If you want 21 songs that exemplify not only the richness of new music as well as the strength of a relatively experienced independent label, then you would be incredibly hard pushed to find any collection of tracks that does so as easily and as effortlessly as this one. An album which will absorb you from start to finish and surprise you on the musical voyage it takes you through.

(Mark McDermott)

The Best Of Whimsical is released on February 7th 2011

www.whimsicalrecords.co.uk
www.myspace.com/whimsicalrecords
www.platformwhimsical.co.uk
platformwhimsical@themusicelevator.com

+44 (0) 7941 815 059

Reviews:

Edinburgh based Whimsical Label was launched in 1999 and the subsequent years has seen them build a diverse roster of artists, many of whom are on this 'Best of' album. Jack Butler open the album with their infectious 2008 single 'Are you a hustler?'. Jack Butler are clearly the jewel in Whimsical's crown as they not only open the album, but they have another 5 tracks including closing the album with the dark synths of 'Apocalypse Clocks'. But this is a label's best of and it isn't just about one band. Be it the smoky vocals of Natasha England, the straight to the point indie from The Shermans (who I was very impressed with), or the astounding harmonies of Emporium. I think there may be too many tracks from individual artists on this album, but they way the collection has been put together it doesn't seem to matter much. This album, with it's diverse range has got something for every taste. It is quite rare for an independent label to have such diversity rather than flying the flag of a certain genre. I have to admit I wasn't really aware of Whimsical as a label before listening to this album, but on the strength of this collection I will keep an ear out in future. (7 OUT OF 10) James Sykes

http://www.subba-cultcha.com/album-reviews/the-best-of-whimsical/article/contentID/22819

BORN in Edinburgh in 1999, Whimsical's blueprint is Glasgow's Postcard record label.
This 21-track offering - out on Monday - is filled with strident indie that takes its DNA from Orange Juice.
No more so is this apparent than with Stirling four-piece Jack Butler who kick off the album with the angular and funky Are You A Hustler? The band have five more tunes on the album proving that they are Whimsical's house band and the most fully formed act.
The tracks include the Franz Ferdinand snarl of Hit Out The Park, Son and the unsettling album closer Apocalypse Clocks, with its ticking guitars.
Eighties star of Iko Iko - Natasha England - has also found a home on Whimsical and offers the smoky I Casually Strolled By.
http://www.thefreelibrary.com/sound+check.-a0248300025 (Daily Record Feb 4th 2011)

Whimsical Records hails from Edinburgh and boasts a modest roster of indie-pop singers and bands, none of which have broken the mould, neither have they floundered in a cess-pool of dull indie-dom. This collection rounds up the more memorable releases, drawn from over ten years of existence, an admirable landmark given the recession and digital age, although most of the material here has been drawn from their second-wave of activity since 2005.

Jack Butler is the most-sampled artist on here and weighs in with jangle-disco efforts of some repute, namely the album's opener, "Are You A Hustler?" and another five similar exercises. The catchiest little tune comes from Sunshine Variety Club, a breezy little effort that wouldn't sound amiss on The Coral's best of (if they'd written it), while other notable belters include Adam Tedder's ballad "It'll Be Soon", The Firm's powerful new-wave jerk-punk anthem "Life's Dismal Results" and the slinky jazz-noir of Natasha England's "I Casually Stroll By".

Throughout the compilation however, there are signs of inconsistency amongst the stable-mates - the other England and Butler tracks are indie-by-numbers or cheesy-retro '80s pop, while The Shermans fail to get off the ground with all three of their efforts. I'll make a special mention about Vegas Nights who have gifted us with possible the worst band name since Those Naughty Lumps, Cardboard Meatnappy or Jedward, yet have recorded one of the sweetest psychedelic twee-pop songs EVER.

Overall then, Whimsical isn't that whimsical at all, but a polite and studious class of scruffy yet well-meaning student-types with a natty line in contented anger and joy that might just keep them in downloads for another decade. (3 stars)
Paul Pledger
http://www.allgigs.co.uk/view/review/5464/Various_Artists_Best_Of_Whimsical_ALbum_Review.html

So, it's time for a Whimsical best of, eh? Well, I have to publicly declare that I have an interest here, as I used to write press releases for them. However, they dumped me without any explanation or, indeed, a farewell pie. The bastards. So, I think it's safe to say you don't want to buy this.

However, if my pride is of little interest to you, and judging from my life so far, that would seem to be the case, I'll tell you a wee bit more. Edinburgh based Whimsical Label was launched in 1999 and have been ploughing an indie rock furrow ever since, looking back over one shoulder to them there eighties, when skinny white boys with guitars were all the rage in Scotchland. So if Josef K influenced guitar pop is your thing, read on.

Label mainstays Jack Butler manage to snag half a dozen of the 21 tracks on offer, with the best of them 'Apocalypse Clocks'. The Shermans get more than their fair share of tunes, but if you're looking for a lost gem, point yourself towards Vegas Nights, a band who should be huge, if the shuffling bagsy of 'Touch And Feel' is anything to go by. Natasha England from them there eighties made a surprise return to music via Whimsical, and her two tracks are well worth hearing.

Elsewhere, there's a mighty fine ballad in the shape of Adam Tedder's 'It'll Be Soon', and Sunshine Variety Club’s 'The Girl With The Crooked Smile' remains lost classic. Naturally, there are a few tracks that don't pass muster, but you have to admire Ewan Mckenzie's perseverance as the music business collapses all around us. Still no pie for me, though.

http://www.the-rocker.co.uk/

Natasha England with Logan - New Album. Press Realease and Reviews.

NATASHA ENGLAND with LOGAN -

'Deeper Into Reality' - 11 track album, featuring the lead single

'Stop Doing Nothing'

- Released February 14th 2011 on Platform Records.

At a time when the electronic genre has come to the fore of popular music, it is rare to find an album that takes as many risks and succeeds with such aplomb as Natasha England’s new album Deeper Into Reality. Natasha’s rich and illustrious musical background makes this album all the more interesting to listen to. After successfully cracking the UK top 10 with her single Iko Iko and the 80’s pop classic L.P Captured, Natasha immersed herself in the writing and recording of new material.


Following her collaboration with many industry notables, England came across Robert Logan - a producer and performer who skillfully reworked Natasha’s ‘Iko’ hit for a 2007 re-release, and has also worked with acts such as Faithless, Siobhan Donaghy of Sugababes and Grace Jones who he supported at the Royal Festival Hall and the Royal Albert Hall amongst others. The result of this collaboration is an intelligent, cutting edge electropop record that is bound to have you wanting to listen over and over again. A wonderfully innovative and creative album that draws on many different musical genres to create a truly great and original listening experience.


The immediate thing which stands out to the listener is that the music so effectively merges classic synth-pop with new found electro beats and sounds. An incredibly direct, punchy album in places, yet delicately ambiental, this seems to create a perfect balance between the vocals and instrumentation, particularly evident on the track Life’s For The Living. The album also has a wonderfully haunting quality, with reverb on both vocals and keys used to quite stunning effect, outlining Logan’s wizard- like production. Lead single Stop Doing Nothing is a lyrically fascinating song on the perils of idleness. Powerful and evocative in the mould of a slow dance track, its memorable hook with electronically tweaked steel drums gives the track a beautiful vibe. The Passion is another of the albums real stand out tracks, merging a club-style tubby bass line with a more traditional electro hook not out of place on any Boys Noize or Erol Alkan track. Natasha England’s haunting vocal gives the track a great edge. Title track Deeper Into Reality ups the BPM to rave status whilst never betraying that retro feel in the vocals. This cut also brings together a great Dubstep style bass with a semi-Soca beat that really gets you moving wherever you’re listening.



Natasha England and Robert Logan, who together wrote 10 of the 11 tracks, have created an album packed with musical gems which are lyrically fascinating to listen to and slickly produced. Throughout Deeper Into Reality there are risks being taken, but with the musical pedigree and background of both England and Logan it is no surprise to see that the results produce an album which is sure to push the boundaries of electro synth a little further. (Mark McDermott)

www.thenatashaengland.com

www.myspace.com/natashaengland

www.myspace.com/robertlogan

platformwhimsical@themusicelevator.com

Reviews:

Natasha England may already be a familiar name to some readers, having already had a top 10 single in the form of 'Iko Iko' in 1982.

Nearly thirty years on and Natasha is making a return with some ambient electronica.

'Stop Doing Nothing' sounds like Hayley Bennett's alter-ego Cora Corman from Music and Lyrics, with an exotic beat and eerie waves of instrumentation.

The vocals whirl in 'Darkside', which has ominous cello-esque tones with echoing mid-range notes. The vocal is hypnotic in this song, which feels a lot like a soundtrack to an avant garde thriller.

'Come' continues in a similar vein, although it has a more substantial beat behind the swirling electronica.

Final track, 'Remember Me' is a dream-like carillon that spins around and around with a gentle voice gently laid on top of the warm bell-like tones.

This record has some good moments, although I would personally like to hear some remixes that feature more of a dance beat. Importantly, the character of the songs and the vocal itself are both very strong.

http://www.the-mag.me.uk/Music/Articles/Item/Natasha-England-Stop-Doing-Nothing/


Most notably commercially known from hitting the UK Top Ten in 1982 with a cover of Iko Iko, Natasha England returns to the spotlight after spending the past few decades behind the scenes writing and recording.

Having worked with Robert Logan to revamp and remaster her famous smash hit for a 2007 release, England again teams up with the producer/performer for this cutting electro-pop record that sounds as if it has been teleported straight from the decade of shoulder pads, scrunchies and happy pants. At the moment electronic-laced music is favoured within the Charts, so England should find no problem in gaining an instant new fan base with her ethereal vocals backed to a heavy new wave beat. With an alternative underground sound, 'Stop Doing Nothing' appeases all things brilliantly wicked.
Jenness Mitchell   (3 stars)
http://www.allgigs.co.uk/view/review/5306/Stop_Doing_Nothing_Natasha_England_EP_Review.html


It's a couple of years now since eighties popster Natasha England reworked and reissued her big hit 'Iko Iko'. And now she's teamed up with remixer Robert Logan for an entire album of new material. This sampler highlights four of the tracks from that release, and it's pretty darn good.

Of course it helps that the eighties have been back in vogue for a wee while now, so this electro flavoured material sounds surprisingly current. There's lots of beats and swooshes to keep the kiddywinks happy, and enough nods back to the olden days for the more mature listener to enjoy. And with events like Rewind packing out theatres across the land, there's no reason why this new material won't find an audience.

As synthpop goes, this is first division material with the single, 'Stop Doing Nothing' a hook filled treat. The other tracks are no slouches either with 'Darkside', ''Come' and 'Remember Me' all being worthy of a listen. With no duds on offer, the mix of electro, synthpop, harder dance tunes and pop melodies is well worth a listen.

www.the-rocker.co.uk



It’s difficult to accurately place the sound of this single. On the one hand there is a hint of the 80’s about it – England’s vocals are little reminiscent of Annie Lennox and at times verge a little on the melodramatic. But there’s also a hard underbelly to the four tracks on offer here. Strangely I’d suggest that the ‘lead’ single is the weakest, the best song being ‘Come’ as it most successfully avoids too many nods to the past and most successfully mixes up England’s ethereal vocal quality with a contemporary hard edged electro. 7/10

http://www.tastyfanzine.org.uk/singles106jan11.htm#NatashaEnglandwithLogan


It’s been a long time coming, but we finally have a collection of new Natasha England songs, something many of us have been waiting to hear since the excellent compilation of Natasha’s 80's recordings,‘Back From the Mists of Time, was issued a couple of years ago. That collection of songs served as a reminder that Natasha was not only one of our best singers, but also a songwriter who was never quite given the acclaim she deserved. Few who remember 'Top of the Pops' from those days will forget seeing Natasha perform on the show but maybe, looking back, her cover of ‘Iko Iko’, which is the song that she was best known for, didn’t help her career in the long run. Natasha was very much an innovator and she has survived in this business a lot longer than most still without the recognition she warrants.

Surely with the release of ‘Deeper Into Reality’ Natasha will attract a new, young audience without alienating the fans who have been with her since the eighties. A major part of Natasha’s music has always been firmly in the electropop genre. While there are indeed various sides to her music in many ways Natasha has been a pioneer when it comes to synth-pop. The passing years have seen Natasha, now with the assistance of producer/songwriter Robert Logan, add a darker edge to her take on this genre and in doing so she has opened up a completely new era in her musical career.

The eleven songs here are all Natasha England originals, ten written with producer Logan and although the lead-off single, ‘Stop Doing Nothing’ is a stunning display of both of their talents it’s by far not the only song on the album worthy of being singled out. It’s an extremely catchy electro synth soundscape, which moves at an almost deadly pace and where Logan shows his skills with various tweaks and effects. Lyrically it’s strong as well dealing with the lethargy that surrounds us and as a whole it’s a remarkable, affecting piece of music.

Natasha and Logan have really pushed boundaries on this album, rather than take the easy route, which both artists are extremely capable of, and recording lightweight but catchy pop songs that would appeal to a much wider audience than the original sounds and textures that they have moulded into the innovative pieces that make up ‘Deeper Into Reality’. They have created a satisfying album for both the artists and listeners that consists of songs that really do throw up new surprises and sounds every time you play them. It reminds me of Depeche Mode at times, not always in the songs but in the way that both that band and Natasha started out playing pleasant synth-pop and over the years their music has developed and matured with the artist and their fan base. While not abandoning their electronic roots Depeche Mode have nurtured a darker, more adult sound to their material through the years and Natasha, along with Logan, has certainly taken a similar route.

Those who have heard little of Natasha’s work since the ‘Iko Iko’ days will no doubt have problems believing that a song as complex as ‘The Passion’ was written and performed by that same artist they witnessed brightening our television screens all those years ago. In many ways it feels like a natural progression that Natasha is making music that reflects her past achievements, while creating a sound that is more adult-orientated than anything she has recorded in the past. But these songs really are more than we had a right to expect even from an artist of Natasha’s calibre. The title track, ‘Deeper Into Reality’, is an outstanding song with Natasha’s treated vocals weaving in and out of the atmospheric wave of sound that Logan conjures up. Again there is this feeling of the duo not forsaking their musical roots but presenting them in a fresh, exciting and creative way.

Many music fans were more than happy to finally have Natasha’s back catalogue complied so thoughtfully and respectfully on CD with the release of ‘Back From The Mists Of Time’, but it’s not just Natasha’s legion of fans who should check out ‘Deeper Into Reality’. There’s a whole new generation of music lovers out there who have yet to discover what a great talent Natasha England is and ‘Deeper Into Reality’ is where they should start. It’s a very contemporary sounding album and even though it would sound great in a club Natasha proves that she can still reduce grown men to quivering wrecks with the intimacy of her vocals on the closing song, ‘Remember Me (Waterfall)’ which also proves that she has lost none of the passion she has always displayed vocally.

Not only is Natasha England back, but she’s back with arguably the best album of her career to date.
http://www.pennyblackmusic.co.uk/MagSitePages/Review.aspx?id=7712


Alanis Morissete blindsided by the dark undertones of PJ. Harvey, is the initial impression given off by Natasha England, ’Darkside’. Mood implanting backing digitalism takes on a low-key and mildly harrowing stance, sitting off England’s delivery of her troubled by love lyrics. Only two tracks into this explorative electronic album and England ably assisted by the adept production of Logan, switches the tempo by adding a soulful glide and some muffled vocal distortion. Imparting shades of grey to an otherwise black and white tale of love’s ability to set you free, ‘Come’. The album then slows down and a vocal strain instils heart and longing, ‘Strange’.

A creeping, fuller bodied, yet lower key electronic steer creeps into ‘Stop Doing Nothing’, to add a more thoughtful and reflective vein to this moody full-length. England has an ability to impart her own mood into a song, almost independent from the instrumental, but still she manages to keep the songs even. This aids her ability to switch from pop to straight out electro without it appearing too laboured. ‘How Do You Like It?’ , is a rustling slow electro tilted, political nettle grasping epic, showing that electro can be slowed down to chilling effect in order to communicate your bemusement:

“There’s a young boy lying by the side of the road, an old man dying alone and cold.

A family starving on the other side: a world of corruption nothing but lies.”

‘The Passion’, ups the tempo and a jungle bound is kicked into the percussion and electro slant, as the vocals take on a more distanced stance to filter in a more ambient lag. It makes the song harrowing, yet compelling and the mood ranging really starts to take effect as the album heads towards its conclusion. England and Logan show that an electro album can contain mood building epics without them feeling too forced or fake. (DAVE ADAIR)

http://www.comfortcomes.com/2011/02/23/review-natasha-england-with-logan-deeper-reality/

The Encierro - 'Be Yourself' - debut single - press release and reviews.

Few great indie rock bands are built without an enthralling story to boot. The Encierro (acronym N*C*R*O), a five piece from Stirling, Scotland are no exception. Since their impressive start in 2003 where they excelled and won the esteemed Stella Artois Battle of the Bands (astonishingly within four weeks of forming, a feat not at the grasp of many) they have crafted themselves an extraordinary tale of talented music, rapid success and sold out shows. Now, The Encierro are ready to unveil their superb first official mini EP Be Yourself, a single likely to further catapult the group. The band’s ambitious story continued when the Stella Artois achievement was rewarded with £1500 and studio time, allowing them to record their first EP ‘Idiot Rock N Roll’ at the Glasgow based Cava Studios, where prominent acts such as Mogwai and David Byrne had recorded before. The Encierro appear to have already had a stellar ride since their somewhat quirky inception in 2003 at a swimming pool in Los Christianos, but the new single only adds to this further. Souey, Janek Kanikula, Junior Bone, John Liddell and James 'shoogz' McDonald comprise the quintet and with the Be Yourself EP, really give us a taste of that journey with three tracks strong in melody, percussion and riffs that tell a story in themselves.

The Encierro’s new EP really is as accomplished a debut single as a band is likely to put out, with a level of musical maturity that really shines through. The band’s progress from past tracks such as ‘The Girls Only Go Where The Coke Is’ and ‘Broken Record’ may be attributable to settling on a line up that truly works for them, and the result is an EP that really excels. The quality of the two B-sides accompanying Be Yourself are a joy to behold in an age where the radio edit remix has taken over from the days where bands showcased unreleased material on their singles. Here The Encierro pull out all the stops. The production on the title track Be yourself is homely, merging the electric and acoustic sides of the song seamlessly. The song drifts dreamily through the chorus, with the acoustic structure complimenting Souey’s vocals perfectly leading to a strong riff driven chorus. As it develops, the track builds to a potent, percussion filled, slick guitar licked ending. An almost R.E.M. style track in its beauty and composition, with slightly more of a Britpop undertone.

There is also an unnerving quality about both the B-sides on this single, quality not usually seen on a debut EP. The first being a Manic Street Preacher-esque style rock track titled Esconde Mi Mente. An instantly catchy tune that coupled with the subtle maracas and the exquisite jangly flamenco guitar riff, gives this powerful song an intriguing Spanish twist. The second track is an equally well written if altogether more direct style indie track. Things Get Better! has a glorious electric guitar riff reminiscent of groups like The Kooks or The View. The strained vocals of Souey give the track a rough quality rarely heard since The Strokes and the tight percussion of John Liddell gives the song an upbeat air that has you moving uncontrollably.

The band’s name (literally meaning the ‘lock-up’ in Spanish) refers to the notoriously dangerous Bull Run in Pamplona, Northern Spain, a furious pace that the group can relate to. Everything about The Encierro has you listening and wanting to know more, and given the rate they are hurtling towards stardom, this is a story that doesn’t seem to be slowing down any time soon.

(Mark McDermott)

Be Yourself is released as a 3 track cd single/download on December 7th 2009 - Platform Records.

www.myspace.com/theencierro



With a name as exotic as The Encierro they should really hail from Spain, but Stirling? Regardless, the band specialise in the sort of inspiring songs that gave Britpop such gravitas. Take lead single ‘Be Yourself’ for example, with its subtle acoustic refrains and ever more delicate riffs, the track hints at the refined touch of REM combined with the melodic thoughtfulness of The Kooks. The key is in the production as the verses flow seamlessly into the chorus, gifting front man James Lafferty an imposing platform on which to deliver his impressively passionate vocals.Thankfully, ‘Esconde Mi Mente’ does offer an expectant flamboyance with its slight flamenco guitar and Lafferty’s notably catchy vocals playing second fiddle to cunning, building acoustic riffs. Final track ‘Things Get Better!’ hints at the band’s more traditional take on indie with a gloriously simple yet effective exchange between jangly electric guitar and Lafferty’s laboured vocals granting the track a homeliness evident on the single throughout. (10 out of 13, by Omar Soliman)
http://www.roomthirteen.com/cgi-bin/cd_view.cgi?CDID=10598


The Encierro Be Yourself EP
ANOTHER debut - this time from a Stirling five-piece. Be Yourself is bouncy positive pop rock. Think Dodgy maybe or early Supergrass.
The chiming guitar through the song lifts this from just another Britpop workout to something rather more special.
Esconde Mi Mente kicks off with a film sample and sounds like Manic Street Preachers with the title being sung by James "Souey" Lafferty just like James Dean Bradfield.
However, the band again add a twist with the rhythm more like Animals-style R&B.
Third and final tune Things Get Better blends the two elements together - Lafferty adding some epic Manics vocals to a perky tune that will have the indie disco kids skipping as they go up for another cider and black.
The band launch their single at HMV Stirling on December 7.
They play The Apple Store, Glasgow, on December 10, Old Victoria, Falkirk, on December 11 and are back at HMV Stirling on December 12.
Be Yourself is out on December 7. www.myspace.com/theencierro
Rick Fulton (Daily Record - Soundcheck December 4th 09)


Scottish quintet Encierro's name means 'lock up' in Spanish and relates to a famous bull run in the northern town of Pamplona, the furious pace of which is matched by their indie rhythms.Début single 'Be Yourself' is a driving indie-pop number holding an electricity which, when coupled with front-man Souey's strained vocals, quickly proves irresistible. Two B-sides accompany, and are equally good; the Kookish 'Things Get Better' and the Spanish-flavoured 'Esconda Mi Mente' which shows some diversity. 4/5AW
http://www.spoonfed.co.uk/spooners/music-team-2636/new-releases-7th-dec-1802


by Kaiya Marjoribanks, Stirling Observer Wednesday
FORMING in 2003 Stirling indie stalwarts The Encierro have seen it all in the local scene.
The band’s name means "lock up" in Spanish and is taken in reference to the notoriously dangerous bull run at Pamplona, Northern Spain.
After a number of line-up changes the current members Souey, Janek, Junior, Shoogs and Liddell have come together to release the band’s debut single "Be Yourself".
The result is a driving indie-pop track which brings to mind Britpop class act The Bluetones (who the band have supported in the past) and more contemporary bands such as The Enemy and One Night Only.
"Be Yourself" is supported by two B-sides including Spanish influenced "Esconde Mi Mente".
The release sees the band get out on the road once more including a date last weekend with ex-Oasis member Bonehead’s new band The Vortex.
The Vortex and The Encierro took to the stage last Saturday (November 14) at McQs in Bannockburn. The rest of the tour takes in dates in Glasgow, Stirling and Falkirk, ending with a promotional gig in Stirling’s HMV on December 12.
You can find out more about The Encierro at http://www.myspace.com/theencierro
The Encierro’s debut single hits the shops on the December 7.
Details for the band’s upcoming gigs are on the band’s Myspace.

And by be yourself, I presume they mean be early REM. Because it's the early jingly-jangly sounds of said Georgian chancers that The Encierro seem to be trying to emulate on this, their debut single. So, if you like that sort of thing, then you'll like this.The B-side 'Esconde Me Mende' goes a bit more psych pop, and is all the better for it.
http://www.the-rocker.co.uk

Vegas Nights - debut single 'Touch and Feel' - press release and reviews.

Not many up and coming indie acts can claim to have the Japanese music market watching their moves. This however is an accolade which Vegas Nights can lay claim to after a sampler CD distributed by a series of online record stores earlier this year, caused a stir in the Far East. Touch And Feel / It Came As No Surprise is the band’s brand spanking new debut double A side which not only introduces us to the band, but gives us a real insight into their past influences and it’s future direction. The current penchant for throwback 80’s music has seen an increase in the synth heavy pop song, so it is rare and refreshing to see a band that manages to not only cross eras but portray them with it’s musical sounds. Hailing from Stirling originally but basing themselves musically out of Glasgow, the talented five-some thrash through evocative songs that are strongly reminiscent of the ‘Madchester’ sound that groups such as The Happy Mondays and The Stone Roses so masterfully crafted.

Touch and Feel springs to life immediately and crushes through the verse/chorus/verse approach. A precise and plucky guitar riff drives the track forward and beautifully compliments the echoey almost Smiths-esque vocals and harmonies as they plead ‘Maybe if we could touch and feel tonight/Then you would be just as satisfied’. This punchy pop track certainly leaves you satisfied, landing you somewhere between Gigolo Aunts and The Lightening Seeds.

Vegas Nights list The Cure as one of their major influences and this is particularly evident in the second A side It Came As No Surprise whilst never taking away from its originality. A melodic and layered verse slowly opens the song up and has a slight tinge of The Beach Boys about it. The potent chorus is made more grandiose by the drudgeoning drums and crashing cymbals accompanying the ever present reverb-style vocals made so prominent throughout the Manchester scene. Guitarist John leaves his mark on the overall sound with a striking riff leaving you with a track that conjures up memories of The Housemartins ‘Happy Hour’.

With the band becoming ever more renowned on the gig scene in Scotland and Northern England, Touch and Feel / It Came As No Surprise is set to open them up to a much wider fan base. This E.P. is a really solid debut for the five-some and the beauty of Vegas Nights is that repetitive listens to these tracks will have you spotting a degree of influences from all genres. The band state that they were formed under the challenge of experimenting with old and new sounds in order to create inspiring and exciting music, this double A side single proves this to be the case and means we can look forward to an exciting future for the group.

Watch this space!

(Mark McDermott)

Touch and Feel / It Came As No Surprise is released October 26th 2009 on Platform Records.

www.myspace.com/vegasnights06
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Traditionally popular music as a whole tends to move in cycles, an ever trundling wheel of reinvention and recycling of ideas. At this particular moment in time there seems to be a glut of bands intent on reviving the sounds of the 1980’s. As is often the case though, many of the acts involved in this resurgence tend to miss the point completely, bypassing the spirit of the music which initially made it so exciting. Instead mistaking it for being all about faux romantic posturing, silly haircuts and refusing to smile for press photos. As such it's a relief to come across bands like Vegas Nights who imbue their influences with a sense of substance rather than style, coalescing them in to something with a bit of personality. There's a familiar mixture of inspirations certainly; The Cure, OMD, The Stone Roses. Unlike many of the other bands around at the moment though, they retain the slight experimental tendencies which initially made these bands so vital. It Came As No Surprise boasts what sounds ostensibly like a chorus without any lyrics, yet somehow manages to be insanely catchy. Touch and Feel bounds straight into life with anthemic harmonies reminiscent of The Beach Boys with a hint of The Housemartins. As you would imagine given such references, this very much seems like a pop song. There’s a happy go lucky façade to these songs, but there’s still an underlying cynicism which at times recalls the skewed romanticism of Ian Curtis or Edwyn Collins. The latter part of the track being characterised much more of a melancholic disposition with fragile vocals and less frenetic almost languid instrumentation, which points toward an interesting ‘other side’ to their sound. It Came As No Surprise confirms these traits with it’s instantly memorable Cure style riff and despairing lyrics. It’s a veritable snapshot of the very best periods of British pop music; a time when popular music had more of a soul, and certainly more artistic merit than is exhibited in today’s charts. Yes it was catchy, but more than anything it was born out of a feeling of discontent, of wanting something better. That cynicism was masked by the songs upbeat tones and a sense of bravado though, bands like The Smiths and Orange Juice being prime examples. It’s this apparent shared spirit which makes Vegas Nights more exciting than most of the other derivative 80’s style dross being spouted out at the moment. This is a very promising debut from a band with the potential to make records as exciting as they are accessible, something which has been mostly lacking in the British music scene for quite some time.

(4.5 out of 5) by Chris Tapley

http://godisinthetvzine.co.uk/content/content_detail.php?id=3792&type=Singles
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Reviewed By: Lisa Torem Label: Platform Records Format: CDS

What a global paradox that five Glaswegians woo the Japanese music scene and name themselves after that American adult wonderland known as Vegas. Compared to the Happy Mondays and the Stone Roses for their emotionally-packed repertoire, Vegas Nights release their debut AA single in late October.The band's influence by the Cure is evidenced by the first cut ‘Touch and Feel.’ Immediately effusive, it embraces perculating guitar riffs and punchy vocals. The second cut ‘It Came As No Surprise embues a solid melody and masterful vocals. Punch-drunk drums, acerbic cymbals and heavy reverb come together on the chorus - a rousting guitar riff rounds off this revelation. The band members promised a sound that would encompass a variety of genres. They have done so and some of the guitar work by Johnny often recalls that of the Ventures. While it may take some time for them to acquire the magical chemistry of an established band like the Cure, they’ve captured the musical immediacy of the moment and look like they’re well on their way to cashing in their hard-earned casino chips.
http://www.pennyblackmusic.co.uk/MagSitePages/Review.aspx?id=6834
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Vegas Nights is not a compilation of songs from Celine Dion's recent stint playing to packed, no doubt tasteless, crowds on the strip. (Thank heavens to Betsy I hear you cry!). Nor are they a collection of dubious clips from some over exuberant frat party. They are in fact a very promising five piece from Scotland due to release their debut, for your audible delight, on October 26th.
Comin' atchya,' mercifully not like Cleopatra, but rather more like a Jack-In-A-Box on speed, 'Touch & Feel,' the first track on this double 'A' side from Stirling's finest, is a runaway train of a track, a fine piece of Indie power pop bursting with energy. Vocally despatched with just enough youthful petulance and a 'couldn't give a ---- attitude,' it's reminiscent of the Buzzcocks, and particularly Pete Shelley. From the metaphoric slap in the face you get from the opening bars the pace doesn't relent, it's carried along with harmonies and a sing along, get ready to pogo in the mosh pit, tempo.
The second of the AA's is a gentler affair, a little slower, but only just, and for me the ever so slightly better track. Again there are plenty of harmonies, a backing guitar break and accompanying vocal that come oh so close to 'Happy Hour' by The Housemartins and a nostalgic day dream towards Scotland's very finest export (No not Tizer), Jesus & Mary Chain. A little more reverb, and a bit more polish who knows.
Vegas Nights have delivered a stirring debut bristling with frantic, almost naively positive, excitement. They deserve to be heard. Keep your ears peeled. Whether it be on Round Table, or as someone's 'single of the week,' etc. Vegas Nights should get given their chance. If it's not this time around I'm sure they've got a lot more to offer, and based on this AA release, let's hope so. Andrew Lockwood (3 stars)
http://www.allgigs.co.uk/view/review/4209/Vegas_Nights_UK_Touch_Feel_It_Came_As_No_Surprise_Single_Review.html


''Like the beatles going through an early 80’s indie blender…''
http://www.subba-cultcha.com/singles.php

Vegas Nights are from Stirling ( which is the same town as Jack Butler in fact) and in some respects they’re singing from the same 20th Century song book. "Touch And Feel" is driven completely by jangled guitars, but with a little more of an influence from Brian Wilson had he perhaps been a member of the Buzzcocks. Throughout this sprinkling of scuzzy psychedelia, the vocals seem to hang on to each note with a slight charming wobble, as the band take cues from the Beatles to the Smiths with an equal amount of pop fuelled glee.

MMM By Simon Brown
http://www.music-dash.co.uk/releases/release.asp?item=6509

Originally from Stirling, but now based in Glasgow, Vegas Nights show that they have some promise here on this, their debut single. They’ve been listening to a lot of different music -clearly both the Beach Boys and The Cure (good), but what they need to do is work on finding their own voice. Some good ideas here - I look forward to seeing them grow (3 STARS)
http://www.isthismusic.com/vegas-nights

Jack Butler - new single 'Surgery 1984' - press release and reviews.

JACK BUTLER - new single Surgery 1984 - taken from their critically acclaimed debut album Fit The Paradigm.“The missing link between Minus the Bear and Arctic Monkeys”. Praise from Rock Sound can barely come higher or more daunting. Jack Butler are worthy of it. Following the Top 40 indie chart track, Hit it out the Park, Son which received industry wide acclaim and obtained airtime on various nationwide radio stations including Radio 1 and London’s XFM, Jack Butler continue their success with the roaring new Single Surgery 1984. Taken from their eclectic debut LP Fit The Paradigm released earlier this year on the Whimsical Records label, with Mark Freegard (Manic Street Preachers, The Breeders) twiddling the knobs in the studio, Surgery 1984 showcases some of the Stirling four piece’s most infectious sounds with an imaginatively layered song, highly contagious hooks and choruses you catch yourself singing and air drumming to long after you’ve listened to it. Hailed by the pioneering ‘‘BBC Introducing‟ programme and winning the Radio 1 Demo Derby, the band have been receiving rave reviews across music websites, blogs and fanzines, with the debut album being described as “Quite simply a belter” by Music News Scotland.
Jack Butler continue what seems like a never-ending line of effervescent Scottish indie acts such as Franz Ferdinand, The View and The Fratellis. But look (or preferably listen) closer and you’ll see the subtle nuances of bravery where others have failed to tread. Jack Butler have boldly moved forward adding their own particular brand of synth pop funk to an already tight, dynamic indie sound with contagious drumming patterns and some both jangly and heavy guitar riffs reminiscent of Foals. Surgery 1984 draws you in with its beautifully reverb-laden melodic guitar licks over a wonderfully spongy bass line that gives the track its beat and funk. Liam Kelly’s vocals sway between pop and punk, giving it an engrossing, honest and almost grungy feel, that leads you nearly unknowingly into the powerful last half of the track. Overall the result is an invigorating energetic mix somewhere between Jack Peñate, Editors and Modest Mouse with some electro synths thrown in to glorious effect.
Cutting it live with such acts as Florence and The Machine, Glasvegas & The Wombats, playing various festivals including T in the Park and currently touring Scotland, Jack Butler’s increasing fan-base are being treated to an art rock album of great proportions. This single adds another string to an increasingly impressive bow, Surgery 1984 will have you toe tapping, head bopping and reaching for that repeat button. You can guarantee this will bore its way into your head in a way that you’ll want it to stay there.
(Mark McDermott)
Surgery 1984 b/w This Soul Accelerates is released as a digital download on October 26th 2009 on Whimsical Records.
www.myspace.com/jackbutlerpresents

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***A SUBBA-CULTCHA.COM SINGLE OF THE MONTH***
JACK BUTLER – SURGERY 1984 – WHIMSICAL
Spiraling guitars divide and reconnect into crystalline shapes whilst what seems like an indie male choir begins to weave it’s harmonies over the thundering bass and staccato drumming – with a voice that finds itself somewhere between the Guillemots & Manic Street Preachers, given a near-hymn like quality creating something genuinely different and interesting within the indie gendarme…
http://www.subba-cultcha.com/singles.php


Sounding like The Killers have snuck into a Dredg recording session to funk it up a bit, Jack Butler’s latest single Surgery 1984 continues the infectious, foot-stomping drive of their previous effort; Hit it out the Park, Son with more subdued vocals.Minus the shouty chorus of Hit it out... and bass dialled down a little, Surgery 1984 is a subtler, more melancholic track showing the Scottish four-piece have more strings to their guitar than many of their contemporaries.Are they catchy enough for pop-rock, or quirky enough for alternative success? Biffy Clyro have managed to tread the line between the two and I hope Jack Butler can manage the same as they’re one of the more interesting new bands I’ve heard this year.For: People who find Minus the Bear too low-key or Arctic Monkeys emotionally bereft.Not for: People who are easily genre-confused. (Ed Prior) (8 out of 10)
http://www.dieshellsuit.co.uk/article_detail.asp?rID=4070

Stirling returns in the form of Jack Butler's Surgery 1984 (***), which steps the competition up a level via the simple method of slowly building towards a climactic explosion. It's the first great moment of the D12 so far, and herky-jerky b-side This Soul Accelerates is pretty good too.
http://www.theskinny.co.uk/article/97294-the-dirty-dozen---october-2009

And now it's time for some jingly jangly Scotch indie rock, courtesy of Jack Butler.The band, who still don't have anyone called Jack in their ranks, would have you think that this is art-rock, but they're far too mainstream for that, and the bass rhythm and forceful vocal on 'Surgery 1984' would make any passing Franz Ferdinand fan very happy indeed. They may also want to check out their debut album "Fit The Paradigm", whence this cometh.
http://s14.zetaboards.com/Zeitgeist/topic/6587363/1/


Stirling quartet Jack Butler, deliver a searching example of their high reaching modern rock. In the case of "Surgery 1984" this is perhaps a less upbeat example of their work, but it’s no less noisy or impulsive, building up in layers of shimmering guitar loops before escalating into a series of soaring guitar versus bass lines, that sound a little bit too much like Interpol. The B-Side "This Soul Accelerates" delves straight into some 1980’s guitar indie, with heavy disco intentions and a drive not a million miles away from the recent experimentation of Wild Beasts, but with more of a lo-fi charge that eventually ends up sounding like very early U2.
MMM By Milton Trebuchet
http://www.music-dash.co.uk/releases/release.asp?item=6508

Singer/songwriters are two-a-penny these days. Oh, but wait, on closer inspection Jack Butler are in fact a Scottish indie four-piece. Far removed from the conventional moniker though, there is little formulaic about their output. Title track ‘Surgery 1984’ begins innocently enough with sparkly light guitar picking and lead singer Liam Kelly’s earnest vocals before the track gains muscle with forceful basslines and frenetic, choppy guitar. Alas, if anything the track ends far too prematurely giving short shrift to some intriguingly invigorating melodies. ‘This Soul Accelerates’ continues in the same vein; straddling the gaps between the jaunty, jangly esoteric rhythms of Foals and the tight, intelligent pop sensibilities of Vampire Weekend with a heartfelt feel for sincere song writing. Infectious drumming breathes life into the track, gifting the lightweight guitar licks a welcome danceable edge comparable to Bloc Party. Both tracks hint at great things and with a little work and a few tweaks, Jack Butler could be one to watch.
Rated 10 out of 13 by Omar Soliman
http://www.roomthirteen.com/cgi-bin/cd_view.cgi?CDID=10431

Wrap your head around this one- Jack Butler isn’t some solo, chest thumping troubadour, he’s a band! Better than your average indie upstarts they combine elements of artrock, poppy hooks, and even the occasional disco drum beat (thanks Franz Ferdinand). The ‘Surgery 1984′ single calls to mind the sadly departed Rakes, the wiry guitars, the insistent rhythm section practically begging the kohl eyed lovelies down the front to dance. The melodies are pretty catchy too, sadly it’s all a bit too heavily influenced by their undoubtedly ‘diverse’ record collections. I’d go out on a limb and suggest Jack Butler likes a bit of Bloc Party, Cribs, Foals, Editors, et al. The songs are naive but their youthful exuberance is infectious, with a bit of time they could be an interesting prospect. Jack Butler assure us that, "you’ll be air drumming long after you’ve finished listening". Despite my best efforts to stop you can still see me on the back seat of the number 44 arms furiously pumping to ‘Surgery 1984′ stuck on repeat in my head. (4 stars - Jack Baxter)
http://www.isthismusic.com/jack-butler-2

Jack Butler interview for The Sun

Check out Jack Butler's interview with The Sun's Chris Sweeney:

The Shermans reach number 7 in Scotland, and UK indie singles top 10.

The Shermans have shot straight in at number 10 in the UK independent singles chart for w/c 19th April, with their new single Venom ! As published in Music Week, here's the full top 20:


TW
LW
Artist/Title
LABEL
Distributor
1
1
Liverpool Collective/ Kop Choir Fields Of Anfield Road
Robot
Robot
2
2
Franz Ferdinand No You Girls
Domino
PIAS
3
N
Camera Obscura French Navy
4AD
PIAS
4
4
Oasis Falling Down
Big Brother
PIAS
5
3
Fightstar Mercury Summer
Search & Destroy
tbc
6
6
Bon Iver Blood Bank
Jagjaguwar
PIAS
7
5
Jack Penate Tonight's Today
XL
PIAS
8
N
T2 Feat. Michelle Come Over
Powerhouse
tbc
9
N
Sonic Youth & Beck Pay No Mind/Green Light
Matador
PIAS
10
N
The Shermans Venom
Platform
Shellshock/ Pinnacle
11
N
Jay Reatard & Sonic Youth No Garage/Hang Them All
Matador
PIAS
12
7
Seasick Steve It's All Good
Bronzerat
PIAS
13
N
High Contrast Basement Track
Hospital
Southern
14
N
The Jesus Lizard Inch
Touch And Go
PIAS
15
N
Health Die Slow
Lovepump United
tbc
16
8
Antony & The Johnsons Epilepsy Is Dancing
Rough Trade
PIAS
17
12
Third Degree Mercy
Acid Jazz
Shellshock
18
9
Chase & Status feat. Kano Against All Odds
Ram
Southern
19
N
Franz Ferdinand Ulysses
Domino
PIAS
20
13
Oasis I'm Outta Time
Big Brother
PIAS