Rock

20-20 Vision by Tenderhooks

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2020 Vision Album Cover

This seventh album for the eternally talented ‘alt rock pop blues’ (and a few more genres too) band, ‘Tenderhooks’, is as slick and diverse as every other one I have been fortunate enough to review.

Opening with the alluring ‘Prelude’, purely instrumental with initially just a solo piano, before being joined by a sax, one certainly feels drawn in to listen on, as it seamlessly drifts into ‘Bright Lights City’, a chilled number reminiscent of ‘80s disco sounds, with a hint of soul.

The title track of the album follows. Unlike the usual Tenderhooks fare, which tends towards ‘feelgood’ or narrative, ‘20-20 Vision’ hovers on the periphery of politics. Referencing environmental concerns, hats off to singer/songwriter Markus Leinweber for the musical reminder that the onus is on us for the well-being of our majestic planet.

‘This’n’That’, with its bassy reggae/ska feel throughout, will bring you back to a wonderfully mellow mood, especially if – like me – you were a fan of ‘The Specials’ back in the day. Another charming piano intro heralds ‘Run into the Sun’ next; with some beautifully clear vocals from Markus and some rousing guitar solos into the mix, this gentle rock song earns its place as one of my favourites.

Changing the tempo considerably is the lively ‘Thinking Cap’, followed by ‘Cell Number 9’. The latter is dominated by skilled piano playing and tells the dark story of a wrongly convicted inmate. The minor key and choir of humming backing singers adds a powerful poignancy to the song. If you like show tunes, this is for you; it definitely feels like a song from a score for a gritty modern musical.

‘Smash It’ is another lively offering, displaying the vast array of instruments skillfully played by the Tenderhooks musicians. ‘No-one Gives a Monkies’ – definite blast from an ‘80s past with a bouncy ska/Britpop mix – precedes ‘Mermaids’, which is a gentle and quirky mermaid story to wrap up this energetic album.

Lucky me – I attended the launch party AND I have the album. But the fabulous news for you, is that it is now available on many digital platforms, including Spotify.

Tenderhooks band pic

Tenderhooks’ seventh album is available on many digital platforms, including Spotify.

Lisa O’Connor.

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‘Tenderhooks’ launch ’20-20 Vision’ @’The Brunswick’

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20-20

Little did I know, when I popped along to one of my favourite Brighton (well, Hove actually) venues on March 7th, to an album launch party, it would be my last night out for … well – who knows when? I’m glad because firstly, it was at ‘The Brunswick’ which looks like a fairy-tale castle on the outside and is so classically timeless, with sturdy wooden tables, real people and good beer, that it could pass for a castle on the inside too. I’m also glad because it was to see the eternally talented ‘Tenderhooks’, so obviously, it was a rocking night watching this ‘alt rock pop blues’ (and dare I say a few more genres too) band, launch their 7th album: ’20-20 Vision’.

‘The Brunswick’ houses two venues: one on the right as you walk in and another downstairs (‘The Cellar Bar’). Readers of my blog of old will know the former as ‘The Cabaret Bar’, as this is what I named it when first I wandered in one summer night for Open Mic, on account of there being a stage and little tables with cloths and pretty candles burning. ‘Tenderhooks’ performed in this bar but not before whetting our party spirit with the delightful ‘Across the Sea’: a duo comprising a female powerhouse of a singer and a perfectionist of a male guitarist who also boasted some enviable locks. Well-placed, just before the main event, were ‘The DBs’ who evoked the same carefree vibe as ‘Tenderhooks’ themselves. Personally loved the folkiness of the fiddle and the jazziness of the sax.

The party started aptly with Tenderhooks’ ‘Bright Lights City’: ’80s disco with a hint of soul, before the title track itself of the album: ‘20-20 Vision’. Unlike the usual Tenderhooks fare, which tends to either be ‘feelgood’ or narrative, this song hovers on the periphery of politics. Referencing environmental concerns, (baseball) hats off to singer/songwriter Markus for the musical reminder that the onus is on us for the well-being of our majestic planet.

A charming piano intro, courtesy of Markus, heralded ‘Run into the Sun’ next; with some beautifully clear vocals from Markus also and some rousing guitar solos into the mix, this mellow rock song earned its place as my favourite.

Continuing with the buoyant mood was ‘Thinking Cap’, followed by ‘Smash It!’, both putting on show the unending array of instruments being energetically bashed and plucked for our entertainment.

‘No-one Gives a Monkies’ – definite blast from an ‘80s past with a bouncy ska/Britpop mix – preceded ‘Mermaids’: a quirky and gentle story about mermaids, which, as we all know, exist ‘at the bottom of the sea’.

And thus ended the album launch … I’m lucky to be in possession of Tenderhooks’ latest offering, but the good news for you is that it is now available on many digital platforms, including Spotify.

Actually, it didn’t end there … we were treated to a few more favourites from this happy, slick band because Markus is the ultimate showman, in the best possible sense of the word.

20-20 2

‘20-20 Vision’ is Tenderhooks’ 7th album and is now available on many digital platforms, including Spotify.

Lisa O’Connor 7th March 2020 @The Brunswick, Hove.

‘Markus and the Tenderhooks’ at Parkstock

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Parkstock

When Markus Napier of ‘Tenderhooks’ fame invited me along to Parkstock, a local music festival, shamefully, I had to admit that this was a new ‘stock’ to my ears. He gave me an address on whose door I was to knock in order to gain entry to this clandestine event and so early in the evening on the 7th of September, I found myself on the doorstep of a grand looking abode in the centre of town. Ten minutes later I was joined by more potential festival-goers, to whom I explained that no-one seemed to be answering. Fortunately, they knew all the right people and after a phone call or two, I gained access to the portal (aka someone’s house) which would transport me to Parkstock. I felt a little like Alice in Wonderland … or Lucy finding Narnia through a wardrobe, as I walked through a fairly regular house in order to gain entry to the magnificently lush gardens which are normally exclusive to the residents within the surrounding houses.

‘Tenderhooks’ had just begun their set and as I took in the view of this little pocket of countryside in the middle of the city, frontman Markus greeted me warmly over the mic and so my evening began. In-between buying seven sweets for a pound and nosing around the vegan food stall, I was fortunate to be serenaded, along with the other festival-goers, by some of Tenderhooks’ finest musical fare. One of my favourites – the narrative song ‘Yolena’, with its catchy chorus and Britpop story-telling – was one of the first; followed by the rock ‘n’ roll ‘Russell You Up’; then the rousing anthem ‘Rule the World’. Reminding us of the power over our own destiny, it also reminded me how diverse ‘Tenderhooks’ are, with their shifting genres, tempos and topics.

Tenderhooks

As the sun dipped down, the fairy lights throughout the gardens came into their own and the mood settled into that of a Saturday night vibe; people started to dance on the grass in front of the band who were housed under pretty canvas. I couldn’t resist wandering along paths and around trees to take in the natural environment, so I did just that, swinging by the bar en route to collect a beer. But on my travels I could still hear the upbeat tunes from Tenderhooks with their quirky stories: ‘Mermaid’, ‘Never Stop Chasing Your Dreams’ and ‘No-one Gives a Monkeys’ to name a few.

Having watched this infintely talented band quite a few times now, I know to expect a great standard of entertainment at their gigs. Always they have new songs on offer, healthily mixed up with some of the familiar ones. Tenderhooks’ genre-hopping, from rock to jazz, classical to ska and even more, means that there’s certainly something for everyone to like … and judging by the audience reaction, everyone did like them – a lot!

Park Crescent

Skeleton Dance

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8A28BCD5-15AD-44D5-86E4-F2B24AC818B2.jpeg

To call ‘Tenderhooks’ latest album ‘Skeleton Dance’, a feelgood album of the highest order, would be an understatement. Even the opening track ‘Stardust Memories’, where frontman Markus Napier bemoans the news making him ‘feel so blue’, gets you in the mood. For anything, really. Tenderhooks are one of the most creative bands I have encountered; all of their work is original, but Markus’s interest in music spanning decades is clearly manifest in the diversity of genres represented and on a deeper level, occasional subtle influences by specific musicians will fleetingly bounce off your eardrums. Poignant references to a musician who has transcended to that rocking gig on high, against a backdrop of nostalgic beats make ‘Stardust Memories’ a great first track. When the enjoyment of a cultural experience is reliant on prior knowledge, it is enjoyed all the more … and Markus is smart enough to realise this.

But just in case all of that made you ask yourself (all over again) WHY we had to lose all that talent … ‘Cheers Cheers Cheers’, will make you want to join the cast of Riverdance. Even if you can’t dance. With its expert fiddle-playing and some rousing drumming, it ticks all the Irish jig boxes. Fast-paced lyrics with a Gaelic vibe abound and there are even background pub noises to make you feel like you’re downing a Guinness in the Emerald Isle itself.

A twangy strings intro to ‘Skeleton Dance’ promises country but delivers rock. And whilst listening to Markus’s versatile tones, I was reminded of Billy Bragg’s uniquely clear voice; definitely a similarity there. Who would have thought that a song about skeletons would be such fun? But it really is.

‘Rise and Shine’ conjures up a black tie event in a jazz club with a grand piano so shiny you could do your make-up in the reflection. Dominated by the sounds of that grand piano, this is not just feelgood, it’s ‘feelbest’.

‘Black Rain’ might be my favourite; delicate pizzicato at the start captures the subtle beginnings of what could be a biblical downfall. The piano joins in to create a crescendo and the vocals start to reveal a story, which is characteristic of Tenderhooks songs. The main protagonist of this story is a nightclub singer who – to continue the rain metaphor – provides ‘shelter’ to her clientele from their woes and worries. Attention to detail within the lyrics create superb imagery for this track and the ending, as you would expect, tails off as the ‘storm’ draws to a close.

‘Cosmic Disco’ kicks off with some synthetic cosmic sounds and references to ‘Space Invaders’, along with that archaic word ‘disco’ in the title, throws you right back to late ‘70s/early ‘80s. Fun. Just like a disco!

With a wind instrument intro reminiscent of ‘The Specials’, ‘Sandy Dunes’ might be my second favourite. Any song sporting the word ‘jalopy’ is going to make you want to pack a picnic and soak up some sun. So the song is aptly named; like a modern day version of ‘Sur la Plage’ from Sandy Wilson’s ‘The Boyfriend’. Percussion and piano dominate, reflecting the perfection and simplicity of a day at a beach.

‘Bird on Fire’ changes the vibe; a slightly Latino intro with some synthetic sounds create an atmosphere of mystery. A minor key and dramatic lyrics fuel the mystery until the story unfolds, again, with attention to detail in the words which create powerful imagery.

‘Son of a Gun’ will rescue you from any prolonged melancholy though, as it tells the story of – well, the son of a gun. Background bar noise, honky tonk keys and a drum beat reflect this snapshot of a gangster character brilliantly, complete with his ‘beautiful wife’.

Another Latino style intro for ‘Running Man’ who could be ‘Son of a Gun’s’ quieter brother. A bit of a geezer, we hear about his online dating experiences to some very speedy piano and percussion and definite shades of britpop.

‘Rule the World’ is an anthem. A motivational speech put to music, it is a reminder of our own power over our own destiny.

Penultimate track, ‘Teenage Crush’, has some fast-paced strings and an ‘80s feel … certainly one that must be relevant to everyone’s teen years!

And finally, the beautiful  ‘Tumbling’ is a love story for our planet. Piano and wind instruments make it a bluesy number and its thoughtful lyrics make it a wonderfully reflective piece to round off an album stuffed with talent and diversity.

I messaged Markus Napier himself halfway through writing this to tell him I was having a blast writing this review. Go have a blast folks – get your hands and your ears on this banquet of music. Enjoy.

 

Adam Cole at Monk’s Tap House, The Cave

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The weekend of National Day … Friday night and I’m in, washing my hair, playing The Killers loudly enough to block out the sounds of people daring to have fun whilst I have no plans. Having left my hairdryer in the UK, I just wait for my hair to dry. On this particular Friday night I decide to do the social media circuit, in the order they appear on my iPad, whilst waiting for said hair to dry.

I only get as far as Instagram, however and only a few posts in because on scrolling down, a friend’s post leaps out at me and my night is sorted.

‘Can I just turn up?’ I message him, thinking he won’t reply because he’s about to get up and perform.

But he does: ‘Just turn up,’ he replies.

So off I wander, with demi-sec hair, down to the taxi station, to barter with a taxi driver over the cost of a five minute drive. On the verge of returning home to get my car and drinking fruit juice all evening, I reach a satisfactory conclusion with the taxi driver and off we go to Monk’s Tap House at The Cave, Darsait Heights.

A five minute drive but a ten minute farewell with the taxi driver.

‘I come later? Take you home?’

‘That would be good,’ I reply.

‘In one hour? In two hours?’

‘Er … I don’t know – I’ll take your number.’

Number taken.

‘Now you call me. A missed call.’

‘Why?’

‘Then I have your number.’

‘Why do you need my number?’

This goes on for some time until I tell him that it’s a nice night and I feel like walking home. Which is obviously a lie as that would mean walking down a busy multi-lane carriageway for quite some time, but I’m walking away from him anyway …

The Cave is a labyrinth of bars, clubs and restaurants pretty much inside a mountain. Hence the name. It actually is a series of caves. I found Monk’s Tap House and there was the star performer, sitting down to a platter heaving with … well, everything. He offered me a spicy chicken wing and I said ‘Aren’t you supposed to be performing?’

He looked around and looked back at me and I saw what he saw – an empty venue.

Adam Cole is one of the most relaxed people I know. Many would have reacted differently but when you’re as at ease with yourself as Mr Cole is and you have every confidence in your musical prowess (and quite rightly so) then why stress?

I joined him and his lovely wife and a friend of theirs (who turned out to be my niece’s friend’s uncle … and yes, it is strange that we managed to make that connection within minutes of meeting each other) and waited for him to make a dent in the heaving platter of everything.

At some point this happened and the show began … a few people had arrived by this time, so it was starting to feel like a proper gig. I was expecting one or two other band members to arrive but Adam is a one-man band. At times, he says, he is joined by a fellow musician or two, but not this night.

A few songs in and I realised that I had completely taken it for granted that I felt like I was listening to a full band. I only ever see Adam play a guitar but I know that he can play many instruments and this was evidenced in his elaborate set-up. He was lead guitarist but flanked by electronic representations of other instruments and considering the number of songs he played, this was clearly a reflection of many hours of preparation.

But what about his performance? Flawless, of course. This was my first experience of Adam at a gig; I have seen him play many times at his popular Open Mic sessions at Copper, but hitherto not at a gig.

Primarily a rock musician, we (not just the three of us – the venue filled at the same rate as our glasses) were treated to covers of Pink Floyd, REM, U2, Oasis … to name a few. All the best rock bands. And when it came to Breakfast at TIffany’s, I marveled at the fact that I had not heard that song for a number of years until the night before, when I was at another gig and here I was hearing it for a second time not 24 hours later. I came to the conclusion that rock music is a bit of a hit in Muscat.

I am in awe of Adam’s tenacity … he reminds me of one of those bunnies from the Duracell adverts. (Well, his tenacity does – you can see from the pictures that he doesn’t look like a bunny at all.) He just keeps going and he shows no signs of flagging and he even had the good grace to turn and smile, while I was taking pictures of his performance. By the time he finished, it was a full venue and by the way, it’s a cool venue. I did not sample their culinary delights but I could see that they were of a good standard. Pleasant staff (who even gave me the WiFi code because I ran out of data) and as with all the venues in The Cave, great ambience. Of course, being inside a mountain gives you a headstart but you have to get the lighting just right to get that ‘inside a cave’ atmosphere, which they do to perfection.

Adam Cole: catch him at Copper Restaurant (Sayh Al Malih Street) every Tuesday night and also performing all over Muscat, so look out for the posters!

Monk’s Tap House: https://www.facebook.com/monkstaphouse/

Reviewed by Lisa O’Connor on Friday 17th November 2017

‘The T-Band’ at Route 66, Qurm Resort

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Image may contain: one or more people, people on stage and indoorHaving only been in residence in Muscat for a few months, I am still on a newcomer’s voyage of discovery of the live music scene. Initially, I didn’t think there was one. I asked around on arrival and I was told that Cliff Richard was soon to perform at the Royal Opera House Muscat; much as I liked Cliff Richard back in the day, it wasn’t quite what I meant. But gradually, I am peeling back the layers of this busy, bright city to reveal a hidden gem of rock and folk music (I’ll let you know when I stumble across any other genres – I am certain they are here somewhere!).

So when I went out a couple of weeks ago, having made an arrangement to meet friends at ‘a bar where you can dance’, I was unaware that I was about to attend a gig. I raised an eyebrow or two at the entrance fee, mumbling that there were other bars ‘where you can dance’ that do not require an entrance fee. That said, it was clearly one of the smarter hostelries in town, proffering that typically Muscat hospitality of a cornucopian supply of peanuts with your beverages (guaranteed to make you drink more of course, as your mouth starts to feel like the surrounding desert) and popcorn also. Not a personal favourite, but my friends enjoyed it and I managed to avoid telling them how wasteful their posh fragrances were, because all I could smell on them was popcorn.

But when a four-strong band hit the stage and confidently started to throw out some cool nostalgia, I realised that I had paid to see a live rock band.

Image may contain: 1 person, on stage, standing and indoor

They had me at ‘Turn Back Time’ but then they had me a bit more with ‘Creep’ and then again with ‘Losing My Religion’.

When we reached ‘Breakfast at TIffany’s’, one of my friends commented that it was a good song.

‘You know this song?’

‘Yes!’ he said, while his friend laughed.

‘No,’ he admitted, ‘I never heard it in Pakistan but I can like it if I want!’

Absolutely – and testament to a good song – moreover a good cover of a good song, that you can hear it for the first time and like it.

Pink Floyd … Bob Marley … Police … this band has boundless energy and a repertoire to match. I started to jot down the songs but I was there for a drink and a boogie so when there was the inevitable migration from the edges to the dance floor at the centre, I joined my fellow revellers to start my weekend.

I recall a crescendo of Queen and Bon Jovi however, as I danced Thursday night into Friday morning and I was glad that they were playing covers, because much as I love original music, people don’t always dance to little-known songs.

Front man Tarek Khorshid is a powerhouse; flanked by fellow guitarist Adil and bass player Ashraf, he is ably supported by equally powerful musicians. But then my favourite – because he posed and smiled for my picture whilst continuing to maintain that all-important beat at the back of the stage – Akbar on the drums. The newest addition to the band apparently and clearly only there because his name begins with an ‘A’, but what a stroke of luck that he turned out to be as talented as the other three.

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The T-Band: worth checking out every other Thursday at Route 66 and other venues and more than just a rock band – it’s just that they played mostly rock when I saw them!

https://www.facebook.com/pg/The-T-Band-306340852718661/about/?ref=page_internal

 

Route 66: worth checking out at the weekend for a classy boogie and pleasant outlook over Shatti beach

https://www.facebook.com/Route66Oman/app/267091300008193/?ref=page_internal

 

Reviewed by Lisa O’Connor at Route 66 on Thursday 16th November 2017

Huffman: Swarm and Exist In Mist

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Firmly established as a rock band, I was not expecting Huffman’s new release ‘Swarm’ to have an intro of haunting piano and equally atmospheric percussion (Paul Provensano). Despite Don Huffman launching into his rock star vocals early on, the piano continues to repeat variations on the same phrase throughout the song, coming to the fore during instrumental breaks and definitely giving this talented rock band an alternative/indie edge. With three accomplished musicians on strings (Kurtis Goad on rhythm guitar, Josh Pickeral on bass and Anton Tuvelman on lead guitar), as with all the best rock bands, the instrumental breaks are an integral part of the listening experience. Throw in some enigmatic lyrics with a slightly dark vibe, and this is one song to remember.

Swarm

A more upbeat offering, Exist In Mist hits you with full-on percussion and strings from the outset and continues with an energetic style throughout. Huffman’s vocals are more distant and deliberately less imposing, giving the boys on guitars their rock band moment, which they do to perfection. An abrupt end rounds off the song with as much confidence as the start. Pure rock.

Exist in Mist

http://www.indienink.com 

http://www.facebook.com/huffmanrock 

http://www.mantarayrecords.com 

Lisa O’Connor

Lazer and Levi’s ‘The Prologue’

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Lazer & Levi The Prologue

I definitely felt a touch of nostalgia on hearing the opening bars of ‘One More Time’ – the first track on rock duo Lazer and Levi’s EP ‘The Prologue’. Iconic ‘80s rock band Dire Straits came to mind as accomplished lead guitar, then a confident drumbeat (David Laine) promised a rocking first song … which indeed it was. A more mellow opening to second track ‘Just a Game’ reflected a shift in mood; a slower beat (and still I’m reminded of said ‘80s rock band) and a platform for Levi Blehm to show off his impressive vocal range – his honeyed tones hit the high notes with as much consistency as any other notes.

Versatile and Enduring

Track number three, ‘Confessions’, begins with a solid bluesy feel, embracing rock about a minute in. The ability to adapt to a number of genres is the hallmark of a versatile and therefore enduring band, as is an ability to finish a song with a flourish, as demonstrated beautifully here.

Penultimate track ‘Go On’ has an overall feeling of flawlessness and takes us into a country genre with its folky strings and later on, some rousing drums, leaving us with some feelgood motivational lyrics to soften the blow of the (almost) finish.

The aptly-named  ‘Say You Want More’ hits the spot with a lilty, old-timey vibe and some gentle lyrics, fitting for a gentle voice.

Best New Artist

‘Those Boys from Colorado’ have written over a hundred songs and were nominated for the ‘Best New Artist’ in the Rocky Mountain CMA’s (iHeart) and listening to this EP, this is a deserved accolade. I look forward to hearing more from these immensely talented brothers, who have been making their way in the music scene from childhood. And I needed an alternative to iconic ‘80s rock bands …

http://www.lazerandlevimusic.com

https://www.facebook.com/LazerandLevi/

twitter.com/LazerandLevi

Lisa O’Connor

North Star (Markus and the Tenderhooks)

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‘Markus and the Tenderhooks’ are a tangible representation of shifting dynamics in music. Just when you think you’ve identified their genre as ‘jazz meets ska meets Britpop’, they open their latest album, ‘North Star’, with a song title that is clearly classical. The magical ‘Prelude in Blue’, gives us Markus Napier’s rich tones narrating a snippet of a story against a backdrop of delightful piano sounds. Occasional phrases reminiscent of familiar classical pieces give an Oriental feel, adding to the mystery, especially with the spoken references to jazz clubs on Broadway.

A leaning towards country vibes brings us the second track, ‘Mother Dear’, which manages to impart a child’s tenderness towards his mother without the schmaltz.

Drawing you in with some stirring drum beats, you could be forgiven for thinking that you’re in for a rousing anthem, in the opening seconds of third track ‘Yolena’. But in true Tenderhooks style, the rug is pulled out from under you as frontman Markus Napier whisks you back to the ‘80s with a slick Britpop-esque commentary. With the afore-mentioned drumbeats and some pretty string sounds, this is a very musical song, despite the whole story being presented via the spoken word; the whole story being the lowdown on the intriguing and enigmatic Yolena. The latter is the narrator’s neighbour and the object of his affection in a remote, adoring manner and indeed, the catchy chorus is a chant of her name with the fun sounds of a tambourine in the background. With his slightly obtuse, yet very entertaining flair for writing clearly evident throughout the song, Napier has every art form – music, writing, acting – covered in just a few minutes and with its clean, abrupt finish, displays an easy flawlessness.

Definite shades of Billy Bragg are evident in the next track on this musical feast: ‘Little Stunner’, only to be followed by the more reflective ‘Sleep Tight’, which, as its name suggests, has qualities of a lullaby – but on the outside, as you’ll find a more upbeat element in the middle.

North Star

The second half of the album kicks off with the rock’n’roll ‘Russell You Up’, before sliding into the easy reggae beats of the aptly-named ‘Ease Yourself’.

Markus’s trademark saxophone – one of my favourite sounds of this band – makes an appearance in ‘Rubber Necking’ before the penultimate rock track ‘Cry Cry Cry’.

The final track – the album’s namesake – ‘North Star’, seems to be a revelation of the first track, ‘Prelude in Blue’, which is clearly a teaser. With keys, strings and wind, there is nothing short of a full orchestra supporting this enchanting number whose lyrics reveal more to the story of which we only receive hints at the start of the album. If ‘Prelude in Blue’ is pretty, ‘North Star’ is stunning; with minor keys building up to a crescendo of harmony, it is a fitting way to round off an album packed with a dynamic variety of musical genres.

 

‘North Star’ is currently available from Resident Brighton.

 

Lisa O’Connor