South
From Here On In

Few have noticed South! Here I am to claim what I have strongly detested on other occasions. Is it possible that NME, always ready to get excited about every young English rock band, hasn't slapped a stunning label on the group? Is it possible that MTV, so keen to find the new Radiohead everywhere, has shown such reluctance to air their videos even in the nighttime schedule? Produced and discovered by James Lavelle, the mind behind the U.N.K.L.E. project with DJ Shadow, young and talented but above all capable of producing a solid debut album, perhaps South deserved more attention. “From Here On In” is an enjoyable collection of pop-rock songs that is as much the offspring of the Manchester baggy scene's influence, especially Stone Roses and Charlatans, as it is of an innate skill in composing evocative acoustic songs. For a particular ability to embellish the work with delightful musical ideas, see the driving bass in "Paint The Silence" or the splendid slide-guitar in "I Know What You’re Like", South resemble Gomez. The DJ-producer's touch stands out in the instrumental tracks of the album, think of the Beastie Boys not rapping and the Chemical Brothers of "Let Forever Be", while the ease with which the three wield their instruments results in captivating ballads like "Keep Close" and "Run On Time", melodic connection points between the Beatles and the more inspired Oasis. That South's debut has gone almost unnoticed isn't so bad after all. Owning and appreciating "From Here On In" is like having an old family heirloom at home, something anyone else would throw in the cellar, any junk dealer would value at two pennies, but which holds priceless value for us.