Fleetwood (Live Acoustic)
Fleetwood (Live Acoustic) is available from:
Alternative, Alternative-Rock, Acoustic
For over a year, I have been a big fan of The Verideals. Having been busy writing and performing, the London band arrive with a song that tells a striking story: Fleetwood is a wonderful and assured return- providing a possible glimpse into their future releases.
TODAY, I am returning to a band that provided me with one of…
last year’s biggest musical treats. Back in March (of 2013), I assessed the band’s tracks Roll Up Your Dreams and Slipstreams– they were called Shades of Jade back then. I opened that particular review with a topic I am going to re-introduce: the nature of critical acclaim and ‘Ones to Watch‘. Every year the likes of the BBC publish these lists: proclaiming their hotly-tipped acts, it is designed to point music-loving eyes to the very best on the current scene: the trouble is, these artists are far from the best out there. I guess there is a degree of subjectiveness- they have to be impartial but many would disagree with their conclusions- in addition to open-mindedness- so many worthy acts fall through the gaps. Over the years, the BBC have provided many recommendations- a lot of the aforementioned artists do not survive critically; they go out with a bit of a whimper. Of course, it is not just BBC that are ‘culpable’- every music magazine runs some comparable piece. The issue I have is too many people ears are distracted (towards recommended acts): so many get passed over and ignored- causing great new musicians to struggle and wane. It is impossible and impractical to focus on every great artist out there; I just feel something needs to be done- to make sure the best and brightest this country offer are not being given short-shrift. I will go into more depth in a second; for now, I shall introduce my featured act:
Jade Barnett– Vocals
Mat Jones– Guitar
Joseph Buckler– Bass
( pl. verideals )
1. a postponed noise of grungey soul due to lack of musicians
1. make music not peace
“The Verideals are the end result of a fusion of heavy rock guitars, powerful vocals and a collective exhaustion of Fashion-Folk Indie bands consisting of mandolins and skinny jeans. Founding members Jade (vocals) and Mat (guitar) met when they studied music at university. After experimenting with different projects and career paths, it seemed inevitable that they would combine their innate musical tastes and influences rather than continue ‘sessioning’ a multitude of genres for other bands and artists. The synergy and uniqueness of the band’s sound comes from attitudinal, distorted guitar riffs that resemble influences such as Jack White or even Nirvana. Combine this distorted underbelly with a finishing layer of emotion bleeding and stratospheric vocal melodies and you have the guts, balls, enzymes and serotonin of the band. Their influences however don’t just consist of grunge and noise. Influences from Fleetwood Mac to The XX have found their way on The Verideal’s palette of sound, nicely balancing their spectrum of songwriting. The band has gone through numerous lineup changes in order to find the right combination of sound, mind and prowess. Joseph (bass) also studied on the same course with Jade and Mat, however only joined the band in 2013 after pursuing different projects after their time at university. Harpal (drums) had played with Mat and Jade on various projects over the years and joined the band in 2014, maximising the strong, rock engine that drives the band’s signature dynamic, syncopated and explosive outbursts. Together with pounding drums, driving bass, greasy guitar riffs and searing vocals, The Verideals are truly the antithesis to everything that sits on the fence of Rock music. Summer 2014 is looking to be busy and exciting for the band as they hit the studio and plan to make their sound waves travel beyond the M25… even beyond the Atlantic.“
Last year I was fortunate enough to review Shades of Jade- The Verideals’ previous incarnation- and was amazed by their music. In Jade Barnett, they have one incredible lead: captivating as a performer and extraordinarily beautiful; she is one of the most arresting talents in new music. Backed by an incredible band of musicians, Slipstreams and Roll Up Your Dreams were very different- but wonderfully assured- beasts that are made golden because of committed band performances and incredibly passionate vocals. Over the course of my (recent) reviews, I have- when assessing acts who play Rock/Alternative music- provided some trepidation: these genres are packed and well-represented at the moment- it is hard to distinguish yourself from the mass of fellow players. The Verideals are not content to just sit back and wait for people to find their music: they get out there and play as much as they can; the effort they put into their songs shines through- complete conviction is laced into every note. Having experienced transitions and changes since their inception- before they were renamed- the band are a tight and focused unit: their sound is fresh and alive; packed with punch and strength- there is beauty and tenderness to be found as well. Bands and acts that succeed (and obtain longevity) need range and diversity in their sounds. The Verideals are capable of changing course and conjecture: one minute they can unleash a palpable sense of tension and explosion; the next a serene and composed quiet- that is something that will stand them in good stead. I am a huge fan of their work, and have been excited to hear the guys back- singing loud and proud; losing none of their momentum and step. Before I move on, I want to mention my favourite city: London. Having allayed my focus to other climbs, I find myself back in the fair city: it is fostering some fascinating and incredible musicians at the moment. The Verideals nicely alongside some of my other favourite London-based bands: Crystal Seagulls, Los and the Deadlines and The Bedroom Hour. Between this trio, you get plenty of Grunge and Rock grit; Indie anthems and catchy choruses- wrapped around incredibly electric compositions that are designed for the festival masses. Being all-male groups, The Verideals have an ace card up their sleeves: Barnett’s tones- in addition to projecting strength and lust- have a beauty and quality that her male counterparts do not possess. The group have many other weapons stocked aside- I shall mention these when reviewing Fleetwood.
When considering the group’s past work- and how it compares with their last track- I shall roll my thoughts back. Their debut E.P., Her Soul, mixed Jazz-tinged elements; aspects of early-career Erasure- gloriously covering a spectrum of sounds across the five tracks. In addition to presenting plenty of Grunge and Rock spirit- that would enforce the sound of Roll Up Your Dreams– the E.P. was a brave and confident opening gambit: one that showed the band had plenty to say. The entire group laced the quintet of songs with high energy and plenty of determination. Since the band’s inception- at university in 2012- to the release of their debut (2012), they managed to enforce and mould their sound- rotated around Barnett’s voice, tracks such as Female Intuition and Her Soul (Why Do You?) show different sides to their make-up. Roll Up Your Dreams was the first Verideals track I heard- it took me back with its endless pace and conviction. This track is a hard-edged and full-bloodied mandate- one that has an incredible chorus and a terrific sense of atmosphere and emotion. Barnett speaks of trying to turn back to normal; what life is supposed to be (is assessed)- negative energies are surveyed and you get the feeling that people are taking too much from her. Angst and a sense of unease linger beneath the skin: our heroine- in the chorus- advises dreams are rolled up and smoked- you get a feeling of anger and dissatisfaction at the core. Her vocal performances mixes whispered and breathy refrains with what makes up the majority of the song: emphatic and overwhelming power and force. It is rare to find a female voice so potent- not a generalization, I just have not heard that many- putting her alongside the likes of Hannah Reid, Florence Welch (plus the best of the best). Strangely- or perhaps not- I caught whiffs of Skunk Anansie in the track: Barnett presented a Skin-esque delivery and sound throughout the song. Themes of disenfranchisement, disillusionment and dissatisfaction come screaming through. One of the band’s most overtly angry tracks, it captures you with its rawness and vitality. Slipstreams differs slightly, and drew away from Roll Up Your Dream’s venom and attack- something more relaxed was being presented. In its early stages, the track has a ‘Britpop’ edge: it has the haze and bagginess of the likes of Blur, Oasis and The Bluetones (between 1994-1997); a bit of Pulps magic is sprinkled in- the track is more leveled (in terms of pace and volume) as it looks at dreams slipping away. The band stick with the themes of dream realisation and fulfillment: offering a different take, they move into modern-day Pop and Indie. Hints of London Grammar are there- they predated London Grammar so are ahead of their time- that emotion and full sound is apparent. Staccato and catchy vocals has breezes of Annie Lennox and Alison Moyet- parts Florence Welch too- Barnett keeps her distinct and undeniable personality ruling the song. The Verideals scored something more redemptive and elliptical (than Roll;)- showcasing their range and diversity. Slipstreams draws in softer and more emotive touches; the band keeps everything energised and essential- the tight and memorable performances seem to get better from song-to-song. Stored Little Memories boasts an insatiable- and nonchalant- wordless vocal (in parts): Barnett seems relaxed and unconcerned as she lets her voice ‘coo’ and ‘ooh’. Redemptive cores come to the fore here: directing her words, Barnett is glad the song’s heroine is feeling better; her soul is restored and the tears are drying. The biggest shift- from earlier numbers- is the themes and sound. Whilst dreams and hopes are assessed before, here things are less personal: it is more positive and imbued with Alternative flavours. Sounds of Fleetwood Mac come to the surface: psychedelic, eerie and spectral touches come through in the compositions- it mingles Trip-Hop experimentation with modern-day Pop. Barnett’s vocals have a dark undertone; passion and lightness too, putting me in mind of the best Pop females of today. The atmosphere and ambition of the song is impressive: it ranks alongside some of the most evocative material of today- The Verideals shifted forward and grew in confidence. Since then- last year’s tracks- our group have gone a step further: Fleetwood ties in elements of Stored Little Memories and Slipstreams, but breaks away from them. Although the track is a ‘Live Acoustic’ performance, you can tell the quality- the song hits you upon the first listen and stays in your mind. Barnett sounds more confident and comfortable. She has always been an incredible vocalist: here she seems more comfortable in her skin; her vocal is even more mesmeric (than before)- the passion and beauty she instills into Fleetwood is infectious. In addition to the quality going up, The Verideals show what their future may hold: they are able to seemless transition from- and incorporate- Grunge/Hard-Rock with delicate and stunning Acoustic movements.
The band have a various range of influences and idols. Being a band that have an impressive palette, you won’t be surprised to hear some very diverse heroes. When The Verideals provide heavier and more Blues-Rock inspired sounds, you can hear some of Jack White’s authority and hallmarks. Jones has a similar sense of panache and electricity: when the music calls for it, he can whip up a cacophony of notes and emotions- squalling fire and bone-crunching riffs are not unheard of. The band have a love of U.S. music; Jack White is an important figure (for the group): tracks such as Roll Up Your Dreams are synonymous with foot-stomp and exhilaration. Underneath the lacerating Blues-Rock sound, The Verideals have Grunge-influenced undertones. Being familiar with their work, I just know the group have a love of the bygone genre (a few bands are reintroducing the form)- The Verideals employ touches and shades of Nirvana into some of their more urgent songs. Barnett’s voice is a multifarious and wide-ranging weapon that is capable of equaling the same sort of power and vibrancy as Kurt Cobain and Jack White: a lot of female vocalists go soulful or Pop- Barnett is one of a comparatively small number that has the potential to reach dizzying heights. Buckler’s bass- and Jones’s axe- is also capable of whipping up frenzy and blood; as well as passion and restrain. Among The Verideals’ influences lie Fleetwood Mac and The xx. Mixing U.S. and U.K. strands, the band are equally potent when offering something more haunting and introverted (similar to The xx). Their Dream-Pop brain is sharp and well-studied: it is something I would like to hear incorporated into future releases. Perhaps Fleetwood Mac come through stronger. The Verideals have a great love of Alternative and Acoustic sounds: like Fleetwood’, our guys have an incredible ear for melody and sound- they can entrance and inspire with their soothing beauty and stirring stories. Roll Up Your Dream’s woozy and urgent sounds put me in mind of Pixies: their Surfer Rosa/Come On Pilgrim era came to mind- when the guitar squealed and screeched, it definitely had a flavour of the U.S. giants. In this track- Roll‘- the denizens of Grunge and Hard-Rock come through: the song has a white-hot festival sounds; if you enjoy rousing and to-your-feet music, then The Verideals provide just that- propelled by Barnett’s entranced and impassioned voice. When considering Barnett, a couple of names come to mind: London Grammar and Florence and the Machine. Tones of Hannah Reid (of London Grammar) and Florence Welch linger in her voice: Barnett has that same sort of full-bellowed power and operatic potential; those dusky and low notes- in addition to beautiful highs. Reid and Welch are synonymous for their empowered and mesmerizing vocals: Barnett has a comparable fever and boldness- she couples it with grace and subtlety. The acts and names I have mentioned should form a starting-point: if you want a true testament of the band, you must investigate their music. When reviewing their past work, I was struck by how individual and original it was- it is hard to compare their sound with that of any other act around. There are similar-sounding acts; none have that same sense of personality and projection- marking The Verideals out potential festival darlings.
Having been away from The Verideals for over a year- I could not wait to get down to listening of Fleetwood. Here is a ‘Live Acoustic’ performance- if they do take it into the studio, it could well change and develop. The early notes suggest they really don’t have anything to worry about: fusing upbeat and skipping acoustic with bubbling undercurrents, it perfectly opens the song. In the initial stages, your mind is transported to somewhere far-off and rural: a quiet haven, you are free to relax in the splendour of the countryside- sat beneath a shady tree, you want to do nothing but watch the river trickle by. Introductions are the hardest thing to get right- bands either back them too long or complicated; or overly-simplistic- The Verideals incorporate just the right amount of length and fascination into the embryonic moments. When our heroine approaches the microphone, her voice seems calmed but urgent: there is something on her mind; she has a certain weariness. When Barnett sings “Pull back the seats and face reality” she keeps her vocal smooth and dignified. As with tracks such as Stored Little Memories, the band project their sights outwards: directing their words to the song’s central figure, there is a pleasing sense of serenity and redemptive spirit. Similar to the aforementioned song, beauty and evocativeness are ahead of vitriol and extroverted displeasure: the track’s subject is starting the day a-new. Whilst the sun peaks through the early morning dawn, a new day of life has unfolded: our focal point seems revitalised and renewed; a state of mind that “has been so hard to find.” Our heroine asks “how long did it take to happen?”- you sense there is a back-story here; perhaps the song’s subject has seen their fair share of heartache and sadness recently. Every listener will project their own interpretation and imagery throughout: I got the sense a woman was being referred to; a young woman who has had her heart broken and soul scarred- finally she is starting to rebuild and return to her former self. Barnett’s voice is impassioned and gorgeous: the equal of music’s grand dames– it has embers of Adele, Hannah Reid and some of music’s most startling voices. That unerring and defined maturity- that Barnett has developed- comes through: her voice has a smokiness and sensuality that makes her words not only more emotive, yet instilled with a graceful beauty. Before I pontificate and prophesize, you get caught up in the song: it seems that all is not as well as it could be. Whatever problems have caused spiritual dethronement, they still linger- our heroine asks her subject how long it will take before issues are resolved. Ensuring that her focus is anonymous and open for interpretation, it lends proceedings a more oblique and open edge: everybody is free to examine and imagine whatever way they see fit. Barnett’s silky refrain soon mutates into a determined and hot-bloodied rally cry. As the chorus comes about- joined on vocals by Jones- she poses the questions: “Is it right or is it wrong?/Are you here or are you gone?” In addition to being splendidly mysterious- you wonder what the right and wrong refers to- the words are delivered with power and intent- the decibels increase and the overall mood starts to get firmer and more intense. Just as you imagine we are about to launch into an angered and recrimination-laden diatribe, your predictions are cut short: our heroine advises the best way to quell racing doubts is to “put Fleetwood Mac on.” Those that know the band- and their influences- may have guessed what the song’s title references (The Mac daddies), although nobody would have imagined what context it would be used in. Intertwining and upbeat vocals- wordless ‘bup-bu-dup‘s are exchanged and chanted- re-inject breeze and relaxation: it also sends out a very relevant and true message. If you want to start the day right; if you need to cleanse your mind of negativity; whatever your burden may be- listening to some wonderful music can be a medicinal and restorative tonic: the song’s heroine is perhaps over-thinking things and letting her mind get carried away somewhat. The composition impresses and adds a lot of weight: percussive notes are tender and light (maybe played on bongo/palms slapped on one drum); the guitar is sprite and light-giving- the song has a charm that puts my mind right back into arable climbs. Having a beating heart of Acoustic-Folk and Alternative, Fleetwood is a summer-ready sound- the sort of track that you would want to hear performed on a beach or down by a campfire. After a brief- but highly memorable- parable, Barnett returns to the forefront. Her voice returns to its entranced former self: this time the song’s target is being told to cover up her love scars. Hiding pains behind “a veil“, the heroine (or hero) is being advised to “Hide away your feelings“- it is apparent that “they are not for sale.” In the initial verse, your mind puts together certain assumptions and conclusions- here they are doubted. The lonesome girl has been advised to spin Fleetwood Mac: having woken up slightly renewed, she is hiding what is inside- putting on a mask for the public; stoicism is the way to get through the day. Whether our subject has been suffering through- a break-up or struggling with anxieties- I am not sure; I get the sense a messy and undignified break-up has caused the woes: it has been a while, but she is still trying to get to grips with the reality of the situation. Shunning the outside world, love’s war victim is closing up her door: hiding away from judgmental faces, Barnett once more wonders how long until a cure- will the problem ever be resolved? As our subject’s morals “get thinner and thinner“, her name has been expunged from the song- perhaps the girl is not quite as innocent in all of this as we thought. While the song progresses, it keeps shaping and changing your mind: by the 2:42 mark, I was thinking that maybe a man was being looked at- someone perhaps who has caused damage and seemed unapologetic and remorseless. Only the band know the full truth- it is similar to the mystery behind Carly Simon’s You’re So Vain– about the mysterious figure: the consideration Barnett gives in the vocal leads me to believe she is not their biggest fan. High-pitched and classical-sounding guitars lend a Latin edge to the song’s final third: weaving beautiful arpeggio and mood-setting strings, your mind is tranquilized- after the scenes and sensations that preceded it. Fleetwood always keeps you surprised and smiling: you cannot predict where the song will go next, yet it never allows you to be in a bad mood- that sense of passion and tranquility is capable of seducing the stoniest of listeners. Adding adoration and colour, the guitars’ burbling and river-flow luster augments the sense of beauty: you cannot help but elicit a sigh of admiration as it parabonds with the patter of percussion. By the time the track comes to land, Barnett- joined by her cohort- has a sense of directness and tempestuous direction: maybe we are hearing about a friend (of the band) that has given them more than their fair share of grief and unpredictability. Fleetwood Mac is the elixir and panacea for pain: spinning Rumours or Tusk for an hour or so is enough to revive the most dented of souls. As the song progresses, I get impressions of Tusk-cum-Mirage Fleetwood Mac- the former comes through particularly. That Fleetwood album mixed large stretches of contemplation; then bursts into life- some see it as a ‘cocaine album’. Fleetwood‘s floating and ethereal cores- with bursts of life- put me in mind of Tusk: that album stepped away from Lindsey Buckingham’s twisted Id that defined earlier cuts. Buckingham’s distinct guitar work (and some of Peter Green’s passion) makes some impressions on Jones. With Barnett’s distinct pipes (employing some embers of Stevie Nicks’s passion and Christine McVie beauty), it transcends the song from possible fallacy to unimpeachable truth. The final moments are dedicated to the repetition of the line “Switch off your mind and put Fleetwood on“- it acts more as a mantra and philosophy than a bromide. The vocals combine to ramify the point: passionate and austere, it is the final fling of the dice- Barnett goes solo on the last round; a fire-crackle and snap in voice at the very end. As the strings hang and die, we come to the end of an incredibly vivid and fascinating tale.
I shall get down to paying tribute to the band (in due course), yet am inspired to sum up the song. I am deeply impressed by how progressive The Verideals are. When I listened to gems such as Roll Up Your Dreams, I was sure I knew what direction the band would be headed: perhaps sticking in the Alternative/Indie milieu, they would certainly be a cut above their peers. Then they go and put out a song like Fleetwood. Whether the track- if it receives studio treatment- will see venomous guitars pair with punchy drums (topped with ecstatic vocals) is unclear- I think it sounds incredible the way it is. The song is certainly something people will want to hear: whether the band leave it as is- or build on it- it will form the basis of a future release for sure. Usually I can succinctly pick apart a song: get inside of it and figure exactly what is being sung about. Perhaps I have got close to summing up Fleetwood– perhaps the band will grin knowing it is a little off the mark- but one thing comes through: that vividty and colour compels your mind to aspire and dream. Sharing its name with the legendary band, you might think the song would be a Fleetwood Mac-esque number: whilst it does have touches of the legends, it is very much The Verideals at work. That inimitable and defined sound- they cemented last year- presents itself once more: they have moved away from older themes and avenues to explore something fresh and current. Clearly inspired by a particular person- Barnett keeps her cards close to chest- I think all us can relate to the kind of person/situation being assessed. The sound is clear and incredible throughout: it has the hallmarks of the best studio-produced work but keeps that live and unfettered core fully intact. Every note and word seems direct and urgent- nothing is buried under layers of sound and composition. For that reason, the song hits hard and connects fully upon the first listen- you will go back again to piece the song together. Possessing a catchy and sing-along chorus; incredible guitar (and percussion) in addition to potent vocals- what you have is a song that will be difficult to move on from. It sets the bar high for the band as they retire to pen new material- I do hope that Fleetwood features on a future release. I shall give my thoughts at the end, yet much congratulate the band. Even though the percussion is not rampant and pulverizing, it perfectly provides weight, emotion and drive. Jones’s guitar is impressive and evocative from start to finish. Able to infuse Latin/Hispanic flair with riparian acoustics, the range of string sounds on offer gives beauty and power to the song. When the mood calls for it, the guitar push and rushes- darker and low notes provide shadows and punch. When the song calls for refrain; light-edged and gorgeous highs are summoned and perfected- it is an incredible performance. Jones’s musicianship and confidence brilliant spars and combines with Buckler. Being a live track, it is hard to say what role the strings-men will play (if it is re-recorded): here they manage to incorporate the perfect amount of tones and sounds- you come away impressed by how much clarity and passion they imbue. Finally shout-out goes to Barnett: the voice behind Fleetwood. Knowing how incredible- and varied- her voice is, it is marvellous to hear it again: she brings smoky and soulful tones together with frantic and full-belted cries. I know I have compared her with the likes of Reid and Welch: the truth is, Barnett cannot be readily tied with anyone else. Her gorgeous voice is enough to seduce and overpower: it is rife with conviction and passion; she manages to say so much with so few notes- I kept playing the song just so that I can focus on her voice alone. Bringing the song’s lyrics fully to life, you cannot help but to pay tribute to her performance. Before I move on, I will reflect on Fleetwood. Ambiguity, mystery; directness, emotion and weariness tangle within the lyrics: you sort of find yourself siding with the song’s heroine (or hero)- that Fleetwood Mac chorus coda makes you smile every time it comes around. The language is simple but evocative- cleverly, there is room for interpretation so that everyone can draw their own opinions. It gets me back to the You’re So Vain parable: Barnett has omitted the name of the song’s accused- I would love to know just who is being focused on. It has been a while since I have heard new material from The Verideals: it seems that they have hit upon a rich vein of creative juice- they sound as impassioned and in love as they did on their first release. Fleetwood is a stunning building block that is sure to gain huge plaudits: hopefully the London group will keep penning more gems like this- it has made a potentially bog-standard afternoon very pleasant and memorable.
It seems like revisiting old friends: it has been a year-and-a-bit, yet the group are stronger and more confident than ever. It’s the closeness and tight friendships that make The Verideals such an exciting prospect: you know they are going to be together for many years; it is the natural bonds they share that make their music so memorable and fascinating. Fleetwood is a triumphant return for the group and a tantalising glimpse into their future sounds. I know the band is recording and writing at the moment: new music is being formulated; we could well see something released very soon. Not to get ahead of proceedings, it just seems life in The Verideals camp is buzzing right now: they are enjoying music more than ever and excited for what is to come. Having been hugely impressed by past offerings, I was relieved and delighted to see the group have lost none of their passion and drive- backed by the mesmerizing Barnett, Fleetwood is an incredible track. It would be great to see an album come from the guys very soon: I feel they have the ammunition and impetus; the talent and range is there- whether that is in their mind or not, I am not sure. The group is about to embark on some tour dates: taking in the likes of 93 Feet East and Southlands Festival (Thursday and Saturday respectively), it will be an opportunity for new fans to witness the band in the flesh- and perhaps a chance for new material to be premiered. London is seeing so many great acts come through and impress: The Verideals are among the finest that are currently on offer. In addition to their close relationships, it is the music itself that strikes hard: no other vocalist has the same sound as Barnett; Jones and Buckler have a natural understanding and authority that few of their peers possess- it will be great to see the guys rise through the ranks soon enough. Having watched their Facebook and Twitter feeds, I know just how much fun the band is having right now: they are indulging their passion and planning for a very exciting future. Between intriguing apercu and on-the-road travelogue, you know something special is on the horizon- keep your sights set and prepare yourselves. For now, I urge everyone to listen to Fleetwood– and catch the band live if you can. Every time a new Verideals song drops, I am instilled with the same feeling: the passion and sense of determination is like none I have ever heard. When I think of all the mainstream delights- that have been offered across 2014- there is division and compartmentalisation: a few Soul wonders are there; a couple of Rock gods- some terrific albums have been stamped out. While I have loved the likes of The Black Keys, Jack White, Sam Smith and Paolo Nutini, I have not heard a lot of consistency and overall quality: a majority of albums have been ho-hum and mediocre (when you properly digest them). My heart is always going to have one ventricle in harder and sweatier areas; the other in the laid back and hypnotic settings of softer sounds. The intelligent listener prefers economy and quality over aimless quantity: finding those acts that appeal to each side rather than buy multiple albums that do that. That is why I am so excited by the new acts coming through- especially in London. The Verideals unite all of my disparate and diverse tastes: there is the heaviness and primacy of Rock and Indie; the beauty and softness of Acoustic music- plenty of Alternative middle-ground neatly bonds the two camps together. With Barnett providing so much passion, sexuality, urgency and talent; her boys backing her up supremely- many more people should investigate The Verideals. Before I go- lest I ramble too much- I just want to raise one point: rationalising and ordering your favourite new music. Being in a position where I review so many new acts- up to six a week at the moment (I have ninja-like fingers!)- the wealth and range of sounds I come across is staggering. Coming away in love with so much of it, it is difficult to keep a track and organise them- I find myself discovering acts that I reviewed long ago; forgetting to remember to keep them in my thoughts. This will be a concern for many music fans: those that have an ardent passion for music will want to ensure all their favourite acts are kept in their brain- The Verideals are an act you certainly want to have spinning around your mind. Set Fleetwood aside- incorporate their previous tracks- and make sure you do not let them slip away! Their music is perfect for lifting the mood; instilling a sense of energy and redemptive positivity in the listener- providing insight into new worlds and ideas. For those reasons…
SURELY that makes them a priority?
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