Poliça – Give you the Ghost

Universally recognised as one of the best albums of 2012, Poliça’s Give you the Ghost cannot be pigeonholed one way or another. A shimmering tour de force which transcends indie rock, trance among other genres, this record will sound fresh to listeners of all backgrounds and will hopefully be remembered for its originality and mastery of many music elements for years to come.

From beginning to end the album contorts through a range of styles, blended together in polyphonic surf. There are no seams between tracks; sounds ebb and flow and immerse the listener, especially through patches of trance that hypnotise and relax. The opener, Amongster, is a good example – crescendos come and go but the tight-knit rhythms course throughout. If ever there was an album designed for headphones, this would be it. It is a joy to sit back in a peaceful zone and switch on the record – nothing has been so compelling and serene in equal measure.

Although Poliça’s debut is ambient, it is also beautifully haunting. Violent Games thunders along ominously, while one of the album’s highlights, Dark Star, cries out through a tale of twisted love. All the while throughout a serpent of a record the steady basslines and drums carry the dwindling melodies and raw lyrics.

The vocals by Channy Leaneagh are warped and drawn by auto-tune, filling every corner of the songs’ soundscapes acting as a foil to the instruments. All these noises are interchangeable and swell as one mix, as does the album. It is a fine skill which blows away and draws thoughtful reflection throughout, how many albums have recently managed to do that? This heads on another tangent that delivers rich rewards for those wanting something a little different.

For a taste of the innovate side of the year, start with Poliça. It makes a fine entrance to 2012’s alternative catalogue.   

Ghosthit! – U Got the Poison

Following on from the thumping rave dance of Fast Train, Ghosthit! have stepped up their game with a kaleidoscopic use of styles, resulting in an impressive new single.

U Got the Poison takes the listener to the drenched urban beats of Bristol, providing an enjoyable introduction to the electronic charms of the region. Bringing crunching beats to the table that recollect the thriving heyday of one of the UK’s finest dance exports, The Prodigy, Poison brings together the staggering beats of the 90s and modern electronica. The result is a wall of sound that consumes the dancefloor.

Catchy and confident, Poison displays a swagger that evidently courses through the group. While not yet the finished article Ghosthit! have made a bold start, and equipped with a healthy smattering of production experience the group may well break the mainstream soon. A full-length debut album awaits.

Ghosthit! – Fast Train

If you’re looking for a high-tempo introduction to the world-renowned Bristol music scene, this offering by up-and-coming band Ghosthit! Might be what you’re after. Fusing swirling trance with industrial beats, Fast Train embodies what you may expect from the underground scene in one of the nation’s music capitals with a distinct 21^st-century sparkle. In essence this is the sound to expect from Bristol for the next two decades.

To fully understand what this style of music means to this great city, take a trip around the bars and clubs that line streets such as the artistic mecca that is Gloucester Road, soaking up the atmosphere and hearing local DJs sample their latest efforts. The accompanying video should give an idea of what to visualise when hearing this track, conjuring up the vibrant sprawl of street art which meanders its way through the oldest quarters of the city while displaying a slickness that reflects the production of the song. Although no substitute for a full visit, the video is a fitting backdrop to this impressive cultural blend.

Ghosthit! is a band with a long way to go, but Fast Train is an indication that they are skilled in the arts of urban dance, nailing their colours to the mast of a deeply original culture. Will they follow Massive Attack and Portishead in bringing this to the masses? Two decades will tell...

Goldtrip – Lion’s Den

Lion’s Den is rock band Goldtrip’s latest single, and is something of a departure from previous releases. With its prowling beat and tip-tap piano, the song conjures up the image of a lion heading for its prey, which is where the track excels. No other effort by the band has displayed the same level of imagination which brings Lion’s Den to life, and it proves that Goldtrip have more in their locker than conventional indie stylings.

Having garnered popularity through repeated plays at recent gigs, Lion’s Den has enough cutting edge to widen the band’s appeal across greater audiences. It is hard to predict what will come next, but it sounds like they’re having enough fun to continue inventing and keep their obviously weighty ambitions going strong. In keeping with the band’s pacy production line, however, it surely won’t be long before their next effort presents itself.

Goldtrip – Time Is All We Have

Almost a year on from the band’s debut EP, I Try, Bristol band Goldtrip have released their first stand-alone single, in search of that coveted spot on the Radio One playlist.

It’s all there - the production, the strings, the general arena presence. The band feels experienced enough to launch an assault on the charts, and this audacity has accumulated from the touring and recording over the last three years.

This track, as ambitious as it is, is not Goldtrip’s finest. The musicianship is again fantastic, and the production sweeps a thick smattering of stardust on the track’s themes. However, it is not symbolic of the band’s recent forays into other styles, exemplified by set list regular Lion’s Den, and thus loses a little of the band’s identity.

Perhaps the track is a way of appealing to the masses before displaying their full palette in an album. It may work, with the Coldplay-esque jangly guitars and soaring melody are pulled off flawlessly, but this cannot become the overriding theme of the band’s music in the long term if interest is to be maintained.

Lead singer Dom’s vocals are powerful and heartfelt, given extra weight by the layered production. The rhythm section is tight and the guitars run delicately over the top; all through the track the sound layers are harmonious.

However, Time is All We Have lacks the drama songs like Running Out of Love, while missing the innovation of Lion’s Den. It is clear Goldtrip are on the right track, and have a diverse range of sounds befitting of an album. But it is important for them to maintain their identity in all their work to become a stand-out on a mainstream playlist, especially considering the level of competition in the indie music scene from so many acts.

If this track manages to break the charts, we can hope to see the band’s confidence flourish, leading to the demonstration of a truly original style. What is clear is that there is potential lurking under the surface, waiting for the moment before release. This may be the tool which unlocks that. 

Goldtrip – Cargo February 3rd, 2012

Goldtrip’s first London concert of 2012 saw the band pick up where they left off, having reached the stage where new songs stream seamlessly into established sets.

As the experience stacks up the understanding between the band members has grown markedly; the powerful dynamic was evident from band member to band member, with lead singer Dom Little again exuding charisma. The songs continue to churn out at an impressive rate, while the bouncy Lion’s Den looks increasingly like the number that may see an impending breakthrough into the rock mainstream.

The slot ahead of headliners Don’t Wait Animate meant the band’s time on stage was short, but anything that has seen audiences swell and plaudits roll was on show in a packed 30 minutes. Songs like Journeys and Changing Platform demonstrated the band’s knack for catchy indie rock with belting rhythms, while opener Poor Boy should be a candidate for the next EP.

The shuddering halt in momentum at the end of closer Time was palpable, and it felt strange for a band with a revered live presence to occupy the warm-up spot for another developing band. One or two slower numbers may have varied proceedings a touch but there is already an ideal template for the band’s future progress. Lion’s Den in particular highlights the versatility of the band, and Little’s, sound, venturing further from well-trodden paths of indie. More support slots with established acts, such as Bon Jovi last year, will bring further plaudits and perhaps a coveted place on the Radio One playlist.

Judging from the rapid progress achieved through 2011, there is no reason why big advances can’t be made in 2012, provided that a major record label is just around the corner. 

Goldtrip @ Solo Bar, Camden Town 16/12/11

An eventful year for the rising Bristol band came to an end on Friday as the final set of 2011 was played out, marking the occasion with a near-entirely new collection of tracks that hinted towards further evolution in 2012.

After supporting Bon Jovi at the Ashton Gate stadium in Bristol and playing the esteemed Ronnie Scott’s club, the location for this event seemed a fairly modest one in comparison. The ambition displayed by the band in their set were not quite reflected in the production values, with the relatively small size of the venue meaning that tracks including Running out of Love were not lent the power and scale afforded to them.

That said there was a track that suited the confined space more than others. Lion’s Den, billed as a potential next single, introduced a refreshing twist of urban rhythms into the established pop-rock melodies, and was a track you could imagine hearing in any musical medium. Its place near the end of the set following on from a pure rock line-up accentuated these qualities, and its inventiveness will surely be demonstrated indefinitely within live plays.

While ROOL proved the highlight of the Ronnie Scott’s gig, Lion’s Den encapsulated the progress Goldtrip have made this year. The key to the next year may be to continue demonstrating versatility across the music spectrum. The way in which the song stood out and grasped the audience represented the biggest positive from the night. Needless to say it would sit comfortably alongside established hits in a Radio 1 set list, and may prove to be the spearhead in successfully capturing a major record label.

The perpetual buzz from the equipment made Dom Little’s normally clear vocals sound muffled on occasion, while the sound from the instruments often fused together to give an unwanted blunted sound. However this was overcome on the whole by the band’s showmanship, in particular Dom who zipped about like a Duracell man. This connection with audiences has seen Goldtrip become a live favourite.

Goldtrip must seek larger venues and supporting gigs for high-profile acts, with the collaboration of a major record label key to ensuring this. With some more EPs and a debut album under their belt they may be close to the coveted Radio One playlist within months. Equally important is the bond with fans and while the band have achieved this, a challenge will be to maintain this throughout the band’s growth phase. Without a doubt 2012 will be a key year.