The Sheffield Scenester

Before I begin...I have to make it clear from the start that the music I’m inclined to listen to...or even go and see live is generally guitar orientated. I did have a two year spell in the late eighties were I subjected myself to gangsta rap but that came and went like most fads. So it was with some trepidation that I’m approaching the prospect of reviewing hip hop artist Vex One and his track ‘Break You Down’.

Whilst collaborating with Playground Mafia this track has an unmistakable pulsing rhythm to it that I’ve heard so many times at PGM gigs. However it does have a slightly subtle difference in so far as the ‘Live To Party’ booming mantra of PGM is dropped in favour of a more R’n’B based rhythm, the sort of pulse you’d find on the more laid back sections of the Black Eyed Peas track ‘Meet Me Halfway’ though it is interspersed with a heavy pounding beat. For some reason this particular effect really works for me, giving it a central point with which to focus on the rest of the track. Turns out the entire concept works quite well, with a catchy rhythm and even more addictive choral chant – “Don’t let it break you down” – I found it quite diverting from the usual guitar and drum laden offerings I usually deal with. It doesn’t involve turning “Ma b*tch into a ho!” or “busting a cap” into something or other so I’ll go along with it for the minute, no doubt it will be interesting to see this live one day.

Embassy are a Sheffield based three piece indie band, who after a few gigs in and around Sheffield have put together a five track EP. With influences from mainstream giants such as Oasis, The Killers and Kasabian...they have a lot to live up to.

Beginning with the 1st track: ‘You Win Some You Lose Some’ which starts with a delicate guitar intro before diving head first in with a beguiling romp of a tune. Jake Sissons delivers vocals in that near classic Manchurian drawl, having said that it’s catchy enough to get you foot tapping along and with clearly defined lyrics singing isn’t far behind as well. Without being antagonistic or obnoxious in any way they deliver a fully round tune with easy to remember lyrics.

This is followed by ‘Time To Shine’, a track with an unmistakable increase in pace and rhythm, as an added bonus Tom Barker is given the chance to demonstrate his skills on drums. All this combined with Jake delivering a Shadows homage of a solo makes for an interesting addition to the EP but a very likeable one all the same.

‘Out In The Open’ is next up and this is a vastly superior tune from it’s opening chords courtesy of Tom’s cymbal and drum thrashing before Jake cuts in with an infectious riff on guitar. Jakes vocals also take on an edgier feel to them to the point where you feel this song actually means something serious, almost personnel to the writer. Easily the best song on the EP thanks to its more sombre meaning and cleverly constructed rhythm spiked with a bit of skuzz on guitar throughout. On drums Tom is almost forcing the tune along which adds to the urgency and ambience created, it’s worth getting the EP for this song alone.

This is followed by ‘Times Are Changing On me’, a much slower tune, not exactly dragged down to a ballad tempo but compared to the previous song you feel like someone hit the brakes way too hard! The guitar delivers a jaunty spike of an intro while Jake reverts back to the laid back Gallagher School of lead vocals.

The final track is ‘Don’t Make My Mistakes’ which slams the gas pedal back to the floor straight away, barely pausing for an intro before Jake cuts in with his lyrics. Oddly this increase in pace gives their regular Indie sound a slightly punk orientated feel to it at times.

As they point out themselves it’s not flash or fancy, as all they want to play is decent tunes for anyone who will listen. Based on that premise alone, it’s not groundbreaking but it is catchy and they don’t fall into the trap of playing five variations of the same tune. A bit of something for everyone that you can put on without having to think too much, though I do think the bass needs to be lifted on the recordings as it seems lost in a sea of skins and strings.