Author: Ray Roach

When SoundCloud was first introduced in the market, very few people were aware about it. They did not know what SoundCloud was. Also a lot of people were not even familiar with the brand name, but then later things changed and now SoundCloud is one of the most well-known brands in the music industry. In the world of the web app, SoundCloud is showing tremendous and impressive results. It is now considered as the fastest growing service in the music industry. The dedicated team of SoundCloud is working night and day to create something special for their users. Soundcloud has introduced different software’s and applications that can make users happy and satisfied. As Alexander, CEO of SoundCloud said that we operate to make our users happy.

According to him, SoundCloud is a world of music lovers. People who understand music and who know how music can be effectively used, for they SoundCloud is the best place. Along with fans, artists and other musicians also use and follow SoundCloud. So why wouldn’t you try real soundcloud promotion that will sooner or later get you more exposure .According to them it is the best place where they can always find something interesting. …

And Also The Trees, who are visiting Denmark next month, offers musical value for the invested patience. The english cultband AATT has existed since the early 80′s and has in all these years suffered the merciless faith almost to be totally ignored by the leading music press in their home country. Despite this fact, AATT has obstinately kept releasing records (now on a German label) and has often toured Europe, where the band finds an affectionate public. Even in little Denmark there is a small devoted fancult, who with love name the band “traerne” (the trees, edt).

Hank_Marvin02The Klaxon is the 10th album of AATT, and that is – in the most positive sense – strangely anachronistic in it’s pompous grandeur, but despite this offers several evocative melodies centered around the brothers Justin & Simon Huw Jones. Vocalist Simon Huw Jones’ severe mournful croon is in relationship with the voices of Scott Walker and Nick Cave. In the spirit of these names there rests an altmodisch and classisistic character of cabaret mingled with greyblack cinematic picturecreating sonority over the Klaxon, where especially Justin Jones dry creaking Hank Marvin-alike outlines, murmuring acoustic touch and mandolinblinking guitars by turn provide the energy …

And Also The Trees believe in ghosties and spookies and things that go bump in the night. Which is hardly surprising if you consider that they come from a little village in Worcestershire that has been almost bypassed by the 20th century. Everything there moves very slowly and time seems to drag its heels, punctuated only by the reaping of each new harvest. Legend thrives in such surrounds and human character can’t escape the indelible mark of such a heritage. Not its music either.

3426101278_b3c33b5d1bThere’s something fey, atmospheric and ancient about AATT, which isn’t just romantic notion. Simon and Justin Jones (vocals and guitars respectively) might have been farmers if they hadn’t formed a band. They have a vaguely earthy charm despite the foppish angles of their battledress.
“Everyone in our village died in the Black Death”, Simon points out with expressionless vigour. “The only remnant of those days is a chapel in an orchard off our house that has crumbled into the ground. Every now and then the plough turns up a gravestone or some other relic and the village is full of old stories and legends. We live in a 15th century house that has its own share …

From deep in the heart of Worcestershire, where time plays strange tricks with your mind and the past clings to the present like a fragrance, come And Also The Trees, bringing with them suspence, dew-eyed cobwebs and the musty smells of winter as mildewed as the bowl of decaying still-life on this sleeve.

3389364663_65bbf5fcfaIn Worcestershire they still hang carrion from branches to warn predators from their fields and flagstones hide their secrets under carpets of moss and lichen. AATT plunder the creepy stillness of their home to forge spiralling patterns and throbbing undercurrents as a backdrop for their rustic storytelling parables of time, travel and destiny. Electrified acoustic shadows follow the rooks that follow the priest across the “Virus Meadow” “as the bells from ditches toll”, “The Headless Clay Woman” counts the stars from under a blanket of frost and with their imagery in perfect line with the sombre currents of melancholic guitar, The Trees bring old English folk poetry to life within a slightly macabre setting, so well described in the instrumental “Dwelling Place”.

Their last and debut album was produced by The Cure’s Lol Tolhurst and offered a more crystal beauty than “Virus Meadow”, which seems to take …

This is the first album release from the Trees for two years, after hiding with some great success in Europe. I find it a shame that when bands get overseas popularity they seem to neglect their homes, but then again, they say where the streets are paved with gold Jack’s not a poor boy (or so my last manager kept telling me).10122896495_58434978feWell, with “The Millpond Years” I hope the Trees at last get the respect and sales they deserve at home as well as abroad. “The Millpond Years” encompasses songs of a certain grandeur in a production and writing style. There is the feeling of thought on a larger scale than the average, stylised movement of vast sounds converging on Simon Jones’ pleading vocal tones, seen in all its glory in the wash of guitar, booming drums and sequence drone of “Count Jefferey”, uncompromising and making no excuses in its own excess.

Songs again, so good to feel optimism with the pulsating tones of “Shaletown”, a true ballad crossing many bridges of musical style, the flowing strings and band subtletly of “From The Silver Frost”, including a beautifully-injected trombone duet that comes and goes as smoothly as it’s played, creating …

And Also The Trees plays beyond time and place in an exceptional mixture of styles.

And Also The Trees is a strange band, who exist in spite of the trends in time in their own chilled time dimension – practically since day 1 in the early 80′s. Yet And Also The Trees has kept a loyal audience in large parts of the european continent in cities like Paris, Berlin and Liege. Names which smell of decadent cabaret life and chanson traditions, what could be the reason why And Also The Trees find their devoted kindred spirits here. And consequently also in Albertslundhuset, where The Trees’s first appearance on danish soil ever, was the basis for an impressive turnout.

5910287886_eb9936ae11And Also The Trees is at first an easy and comfortable target for ridicule, if you are having a hard time with pompous patos. Singer Simon Huw Jones looks like the square root of all the western worlds aloof garretpoets. A serious young man who simply can’t get painful Weltschmertz enough but who experiences his personal nightmare completely on stage. It would quickly be a bit too hollow and oversensitive if it wasn’t for brother Justin Jones who with his alert, soft …

It was something so rare as pure idealism that layed behind this concert with the more than ten years old english cultband And Also The Trees. Brought to Denmark by a initiative group of three persistent local fans, who had the idea that something had to happen with both And Also The Trees in Denmark and the rock in Albertslund.
“People have arrived all the way from France and Haderslev” (a small town in southern Jutland near the german border) one of the promotors said surprised and happy, when she was able to overlook that turnout of 200-300 people, who made the daring venture into a current succes.

Opstandelseskirken_Albertslund_DenmarkOn the stage stood And Also The Trees and delivered a concert, which with the impressive lighting and voluminous soundpressure seemed to be arranged for somewhat larger localities. The band has just been playing for 1200 people in Paris. And the french connection was understandable hearing the clearly francofile cabaret- and chanson-sound in the band’s both very bombastic and very stylized rockmusic, which in a marvellous way arouse the black-edged and new-romantic english wave from the beginning of the 80′ies. In his extraordinary agonizing poses and passionate tones of juvenile Weltschmertz the …

If on this black and rainswept night you were crawling through London on bruised knees, you should have found yourself drawn to the Clarendon, awaiting the onset of And Also The Trees. The Wonders of worcestershire were predictably magnificent, blowing out a fierce and frightening set. AATT’s music has grown from the dissident seeds of punk, blossomed through the bewilderment of post-punk and new wave, and set root in stranger pastures. They have honed their sound to a degree of near-perfection; a precise, individualistic, territorial music.

2722920006_a8487a80a7It is virtually impossible to accurately describe their music, save the placebo of labelling it the essence of debauchery. Debauchery, mind you, not sleaze. Annihilate the cock-strut, lambast, the lizard kings. Forget the little boy blues and impotent turkeys like Limahl. Eschew the opate of mediocrity, and allow yourself to enter the realm of the senses. This music is the milking of the witching hour. The boys are the real McCoy. The tragedy is that they rarely leave Malvern.

“The secret sea” parted the set’s lips, only to reveal a pearly row of raw and haunting songs which chilled the nape of the neck, and mesmerized all faculties of concentration. “Shantell”, their first single, …

Broadway, the hole buried in the depths of Hammersmith’s Clarendon Hotel, is not an ideal place to witness any spectacular. Tacky gothic sketches on the walls, limited space on and around the stage, and dangerously dodgy amplification mixed with an unsympathetic sound engineer, make for one of London’s lesser-appreciated venues.
These downfalls affect Goddog, a quartet comprising sax, keyboard, guitars and drums, who will be remembered for their percussionist Plume’s headware if not for her snappy style of singing. A red beret and eight or nine jerky tunes make a pleasant change from the norm who support in this dimly-lit pit.

FOHSimon Huw Jones, the voice in the forest, wanted to be lit by projections, while the remaining three were covered with colour. No room was the verdict; creativity crushed they’ve even begun. They make do with what’s available, opening quietly with “So this is silence” and immediately complaining that the voice is too silent, the bass to loud and the overall sound too muffled. By their third, the sound is corrected and the music compelling. Justin manipulating his guitar with an effort that out-ranged the most complex synthesized sound, engulfing the small gathering with emotion, embroidering the music with …

The following text was shamelessly stolen from the cover-like piece of folded paper that comes along the AATT box set, containing all their 12″ and the first 7″.
The Boxset is very good quality – some of the singles look like being original while others are made specially for the set. At least you can see what’s re-presses and what’s not!

20041113-002_Lourmarin_Tombstone_Albert_CamusShantell-this is an original pressing of the first record ever made by AATT. Recorded in 1983 the players were: Simon Huw Jones- vocals, Justin Jones-guitar, Steven Burrows- bass guitar, Nick Havas-drums. The song was written the previous year when Graham Havas (Nick’s brother) was a bassist, a role Steven took over some months later. Since that time there have been no further alterations, just the addition of ‘guest’ keyboard player Mark Tibenham. S.H.J.’s youthful lyrics for Shantell are about the omnipresence of an unknown child whose grave in a local cemtery deeply affected him. She remained in mind for a long time and became the first character in the dream landscape from which many of the AATT’s are drawn.

Wallpaper Dying-Words co-written by N.H. and S.H.J. in 1980 strive with the energy of the music to create an atmosphere …