David Fendick and Jonny Hooker are two multi-instrumentalists from Leeds, UK. Together they are Fossil Collective, an alternative-folk band influenced by artists like Simon and Garfunkel, Neil Young, and Fleetwood Mac. It’s easy to dismiss the band’s sound as standard indie-folk with your parents’ favorite groups as their influences. However, on closer inspection, you can hear complex guitar work in a similar style to Midlake, or beautiful melodies like Bon Iver. All the while, the band retains their own signature style of effective harmonies overlapping various layers of instrumentation.

Their debut EP was released in 2010 to justifiably glowing reviews. Honey Slides EP is a three-song stroke of success. It showcases the duo’s brilliant talent as songwriters, musicians, and vocalists. On each of the songs, their production appears as the work of a veteran; the instrumentation is not overly dense, but also not too thin. This is because they write songs to fit the sound they want, rather than writing songs to fit the usual five-piece band. If they want a particular sound on a track, be it slide guitar or violin, they drag someone specific into the studio to play it. This is why they called the band Fossil “Collective”; it’s an assortment of contributing musicians that alternate based on David and Jonny’s musical needs. Their success shows this as a very effective system, at least for them personally. When I asked the duo how they write their songs, they told me Jonny often comes up with an initial idea on an acoustic guitar, and then Dave helps build the song to its final product. Their lyrics are a collective effort.

Honey Slides EP opens with “On and On”, an upbeat song with a catchy melody. Its relatively basic structure is not at all a weakness due to the excellent musicianship all around. Both the lead and backing vocals are perfect; the rhythm section is intricately written to get the right sound, and there is even a flute solo! The EP then moves on to a contrasting slow number. The intro of “Without a Fight” touts a relaxed slide guitar which sets up perfectly for the tranquil sounds that unfold. The two-part harmony is sung beautifully over the peaceful accompaniment. The drum work is so light that, if it wasn’t for the rolling sense of rhythm, you’d barely notice it was there. It’s a lovely, lush song that serves as one of the EP’s highlights.

The final track of the Honey Slides opens with gorgeous, a-cappella vocals. It continues into the most powerful of the three songs, “When Frank Became an Orb”. The song is full of emotion, eventually fading out as a tease – leaving listeners wanting more. This effort sounds like their final goodbye as small, independent musicians before their full-length is released and they inevitably gain well-deserved fame. Honey Slides EP is a must-have for any fan of the alternative-folk-rock scene.

Fossil Collective’s debut LP is due to be released early next year. If it’s anything like this EP, it’s well worth looking out for. They have completed ten tracks so far and still have three to record Once the album is finished, they intend to “tour like mad”, so we should all have the privilege of seeing them in a nearby town. These guys are up-and-coming talents that are going to be up there among the indie-folk elite.

RIYL: Radiohead, Manic Street Preachers, Fleetwood Mac, Muse, Kasabian, Oasis, PJ Harvey, Blur, Blonde Redhead, The Verve, The Flaming Lips, Train, Franz Ferdinand, Field Music

Fossil Collective – On and On

Fossil Collective – When Frank Became an Orb

Fossil Collective – Without a Fight

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Being billed as the UK’s answer to Kings of Leon immediately lumps a rather large weight on the shoulders of London trio Them Changes. But nevertheless, that seems to be the word about town.

Not bad for an act that started its life as Michael Kiwanuka’s backing band. They eventually decided to form their own group last year, and now they’re being managed by Steve Whiteley (formerly of ATC Management). Their debut single “Lie to Me” features catchy, wailing vocals with huge guitar riffs and vocal harmonies – catchy enough for commercial appeal without alienating their already growing ‘Camden crowd’ fan base.

The trio have managed to nudge their way into a scene which is crowded with gimmicky indie outfits, and they have done so partially through their new single release. Another reason is  their open-to-fans party “Hooligan Soup”, which they host once a month at The Wheelbarrow in Camden. Them Changes select the support acts for the night. With packed crowds flocking to the venue, it seems to be working. The live shows are very impressive – the kind of gigs that involve people leaping from big speakers and jumping ten feet into the air to get the crowd moving.

It was at this night that the boys met Jack White, who has since reportedly kept in touch with them since after listening to their set. The video which accompanies “Lie to Me” is conceptually daring. Firstly because it’s a montage of historical liars, including clips of Tony Blair talking at the Chilcot Inquiry into the Iraq War and clips from Springer and The Jeremy Kyle show. But also because it doesn’t actually feature the band themselves, despite being their first real introduction to the national scene. Allow their exposure’s chance to sit with quality blackjack games.

With several further releases planned before the end of the year, we may see a little less mystery from the trio. Until then, Them Changes are encouraging people to confess to their biggest lies, giving away a free exclusive track to the winner of whoever has the biggest and best lie (entered in the comments section beneath their new “Lie to Me” video on YouTube).

Editor’s note: They describe themselves as a “psychedelic space-punk power trio” but are much more accessible than that. Them Changes are a straightforwardly infectious recollection of ’90s British alternative, particularly of the more radio-friendly groups that pursued both intellectual Brit-pop and radio-access alt-rock. Their youthful energy and readily available hooks make them poised for success in the UK and potentially overseas, though chances are at this point  they remain a distinctively British success story. This is simply because many of their influences were just that. Nothing wrong with that though.

RIYL: The Verve Pipe, Arctic Monkeys, The Kooks, Collective Soul, Dog’s Eye View, Milburn, Seven Mary Three, The Fratellis, Tonic, The Little Flames, Klaxons, Supergrass, Toad the Wet Sprocket, Kasabian, Gin Blossoms, Fastball

Them Changes – Lie to Me

Them Changes – In the Dark

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by Stephen Swett

Three years removed from his last full-length album, Canadian sensation Jeremy Fisher follows through with his most complete album yet. Released on October 25th, Flood is an outstanding collection of indie-folk tunes that will leave you craving more from this Dylan-esque singer-songwriter.

Jeremy Fisher began his musical career with the independently released Back Porch Spirituals in 2001. Essentially a tribute to Fisher’s greatest influence Bob Dylan, each track features lively acoustic guitar melodies and an accompanying harmonica. There is even a tune found here called “Song For Robert Zimmerman”. The sound, however, is raw, and most of the songs are pretty similar. A terrific debut, but Fisher would have to break away from his imitation of Dylan if he wanted to make an impact on the music world.

Moving along, his next work, Let It Shine, was released in 2004 to a smattering of fans, but this album would push Jeremy Fisher into the limelight for the first time. He finally broke away from traditional folk, employing a variety of instruments to supplement his superb guitar riffs. Several Canadian radio stations awarded his single “High School” significant airplay over the next year, spreading his name to the masses.

With an ever-growing fan base, Jeremy Fisher did well to keep his followers in awe with his third full-length album, Goodbye Blue Monday, released in 2007. Simply put, this is one of my favorite albums of the past couple years. Every song hits me like a delicious Thanksgiving dinner, and I feel completely satisfied after listening. The choruses are innately addicting, but unlike modern pop songs these do not get tiring or overplayed.

Like many Jeremy Fisher listeners, I was curious how one could possibly follow up such a masterpiece as Goodbye Blue Monday and, to be honest, was not expecting a comparable encore. Jeremy is now shoveling my words back into my mouth. Flood is fantastic, and it is clear now that Jeremy Fisher has fully grown into an expert singer-songwriter. His lyrics are clever and rich, while his melodies are still intoxicating. It is impossible not to sing along to his catchy choruses as well. It’s hard to imagine that former Bob Dylan-wannabe Fisher could transform his sound so completely into an individualized act. Now that he has found his own voice, this Canadian journeyman definitely has the talent to rise to the top of the indie music scene.

The album opens with the single “Shine A Little Light”, a delightful track that lends itself to being the single as it is probably the most conventional song of the collection and, therefore, fit for a wider audience. But that does not mean the song lacks spirit or energy. What makes the song even better is Jeremy Fisher’s homemade music video, featuring his iPhone.

The next track is called “Naked Girl” and is about exactly that. Despite the near immaturity of the song’s topic, Fisher is surprisingly able to blend profound lyrics with incredibly poppy ones. In one moment, Fisher sings, “Everybody wants to see a naked girl,” which I hope needs no explanation. Later on he sings, “The shadow of a shadow is the sun itself,” which had me thinking for a while after I heard it.

Next is the tune “Laissez Faire,” which is less of a critique on Western political-economic systems and more of a Vampire Weekend-like reggae-rock track. Once again, the chorus pulls the song together, and we now have three songs which are all in the running for the best on the album. What follows is the ukulele-driven “Come Fly Away”, which is best described as fun to listen to. It may seem like a lazy adjective to use, but once you hear it you’ll know what I mean.

The fifth song on the album, “Nothing to Lose,” sounds like it’s straight off Bob Dylan’s Infidels album. Fisher’s piano playing matches his talent on the guitar in this slower, uplifting ballad. The lyrics, “Life is just a speck in the sky, a teaspoon of honey, the blink of an eye,” bears a striking resemblance to Dylan’s simple yet enlightened verses.

“Alison” comes next and might be the best song on the whole album, although I could say that about every one. The infectious chorus carries the tune and leaves you wanting more. It’s gotten to the point where terrific and catchy choruses are just expected from Jeremy Fisher songs. How does this man keep churning out these unbelievable refrains song after song? Every band takes a track off here and there in order to fill in the gaps of an album, but Fisher maintains quality throughout.

Next we find “Morning’s Broke,” a beautiful and brilliant piano piece which offers a relaxing three minutes of listening. After that, however, Fisher reverts back to his immaturity with the track “On A Monday,” a song about “getting messed up on a Monday.” Once again, the chorus is supreme and lyrics down-to-earth, forming a tune that’s thoroughly enjoyable.

The simplicity of “Summer Rain,” Flood‘s ninth track, is refreshingly uplifting and bound to put a smile on your face. Next is a traditional folk jingle, “Umbrella,” which might easily be found on the Juno soundtrack if it were written a few years ago. Then, at the 02:40 mark of the song, Fisher switches drastically to a sing-a-long chorus which could have been a terrific song in itself. Jeremy Fisher ends strongly with “All We Want Is Love”, a song with a strong bass line and, (do I even need to say it?) a great chorus.

As a full compilation of tracks, Flood is extraordinary, drawing from a wide range of influences, and will hopefully cement Jeremy Fisher as one of the premiere indie artists to emerge this year. I fully recommend that you download this album. But be warned, once you listen to these songs you will be hooked on this Canadian musical talent for some time. Once believed to be a Bob Dylan impersonator, Jeremy Fisher has now found his own unique sound and should continue to impact the music world for a long time.

RIYL: Bob Dylan, Matthew Sweet, Kings of Leon, Kasabian, The Kooks, Tallest Man on Earth, The Dead Weather, The Black Keys

Jeremy Fisher – Come Fly Away

Jeremy Fisher – Cigarette

Jeremy Fisher – Shine A Little Light

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