Last year, Saul Ashby introduced us to his spangled riffs with first single ‘Debutantes’. A track that admittedly fell by the way-side of any mainstream attention. But still, delivered a swarl of the Londoners craft.

Now, with his ‘Runaway Hearts’ EP available as a free download via Facebook, Saul presents new single ‘London Is A Crime Scene’.

Still maintaining his fused rasps and quirky presence, the song slips into the shenanigans of modern city owls. Touching on his own tales of urban calamity whilst spilling in and out of bars, it’s a track that has a good crack at resembling the scenes drunken minds absorb.

The budget-tight video shows Ashby swaggering down a London canal, tackling the odd shoulder barge and stealing straw hats (come on, we all love a straw hat).”I look a right twat in it, but it’s all about the tune at the end of the day”. I’m not one to judge Saul.

This track doesn’t need you to be half cut to enjoy it, though. In fact, play this anytime you wish. It’s a record that will quite happily allow you to mull your own thoughts of nights on the tiles. Good or bad. Happy or sad.

Watch the video for ‘London Is A Crime Scene’ below.

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EUGENE MCGUINNESS – Earning a modest name for himself as a singer songwriter since 2007, the domino artist has more than paid his dues, performing as part of Miles Kane’s band and releasing three accomplished record.

THE SHUTES – The Shutes are a four-piece from the Isle of Wight who make well-crafted indie-rock with psychedelic and surf flourishes. Their recent Echo of Love EP showcases a band with songs that demonstrate confidence and maturity.

SAUL ASHBY – The dashingly clean cut, guitar-toting Saul Ashby is firmly poised with both leather-booted feet to leap headlong into the tempestuous whirlwind of the industry.

Saul Ashby

It’s a sound that’s stripped to the bare bones, yet tasty as a rib eye steak. Saul Ashby is perusing to put his curly notes on a musical map. Taking inspiration form the likes of Elvis Costello and making sounds that intertwine finely with banter amongst friends,  it also delves into the opposite side of the spectrum. Tackling love on the rocks and colourful socks, Saul speaks about all things Ashby.

Saul Ashby. How are we? Ok?

I am, I think. Bit of a big weekend, but Monday feels alright.

So. You’re currently on tour. How’s it going? Has there been a warm reception from the crowds?

It’s all about Manchester. We played at Night and Day a couple of weeks ago. The first time I’ve ever played in the city. The crowd were wicked. 

Your music has a Jack Peñate vibe about it. Would you agree?

Not really all that familiar with his stuff. I think I liked what I heard. The handful of modern solo artists that aren’t weeping all over their acoustic guitars is a limited one for comparisons, I suppose.

After seeing you live recently, you have the ability to deliver a unique focus when you perform. Was this your aim?

A unique focus? Haha. I don’t know mate. I just really love what I do. The short window when I’m on stage is when I truly feel like I’m in my element. So maybe that’s it.

‘Debutantes’ is a great single. How would you describe it and how did the song come about?

It’s about the excitement you experience when you’re out with your mates and trying to persuade yourself that you’re on top of the world, when all the while you’re just trying to get pissed enough to drunk-dial your ex. 

Nice. I feel you have a love for 60′s music. Would I be right in thinking that? Not to stereotype your dress sense…

I couldn’t narrow down my listening to just one decade’s worth of music. I wouldn’t know how to do that.

It’s a competitive industry out there. How can Saul Ashby endeavour to keep his musical machine motoring?

Maybe I’m fortunate in that I don’t really care about what anyone else is up to. The only person I’m bothered about outdoing is myself. And I’m very hard to impress. 

Right then. This has to be done. Inspirations? Or idols even….

I’ve had a few Elvis Costello comparisons recently, which is hugely flattering. Probably more to do with my specs than my tunes though. He’s always been a massive hero of mine. Lou Reed is also a big one. My mate Jules put me onto his “New York” record a few years back. One of my favourite albums. I lived in New York for a couple of years and that record just paints the most incredible picture of the city in the late 80’s. Wish I had seen it like that.

I like the Jack Peñate comparison. But how would you sum up your sound?

Like when a quiet night in with a couple of mates turns into an unexpected visit to the ER.

It’s very early days. But what’s in the pipeline for you with regards to your debut album? And what are the new single plans?

That’s a very good question and one that I’d like to know the answer to myself. I’m about to hopefully start work on an EP and we’ll probably release a couple of singles off of that. Debutantes is out on May 14, so we’re going to have a massive gig/party in London on May 9 at the Sebright Arms. Everyone’s invited.

Tell me something totally random. Anything…go for it…

The word “sesquipedalian” is an adjective defined as “Given to using long words.”

That is random. Saul. Its been a pleasure…

Cheers very much. Hopefully we’ll see you for a dance soon.

I have been know to dance, so that sounds very promising. All the best.

For those of you who are anticipating this review. Good on you. This is the type of event that should be more prominent in the music world lately. Offering a line-up of giddy talent and mixed musicians, the Communion label has spread its wings even further. The decision to include Manchester in their plans is a very wise one.

Tonight’s line-up is five strong. Maybe a little heavy, but nonetheless a decent batch of eager beavers. But (yes there’s a but) eagerness as good as it is, doesn’t always mean good music. Keeping a crowd keen for a lengthy three and a half hours, can signal the odd yawn here and there. Just a warning.

It’s a steady build-up tonight. As the casual smokers stand rigid and celebrity-like outside the venues front window, blowing smoke and deriving to offer the weekend rock star cliché (on a Thursday), they almost forget the fact that inside warmth will shield the bitter Manchester breeze.

As the tinkling strings of a ukelele ignite further warmth, we’re treat to a nice easy-going invitation to enjoy the tones of Rachel Hillary’s acoustic and folk vibes. A trendy thing of late. Ever since the Mumford breakout every man and his dog wants a slice of the unique vision they apply. And that’s the problem here. As second band Naymedici summon the crowd forward with their whisky celtic tones and arm locking vibes, they do persuade me to give an applaud of appreciation. However, at the back of my mind I feel a slight niggle of annoyance. Fair enough, you’re going down the route that seems to please many, myself included, but instead of picking old parts and adding a mildly useless spin, there should be a meatier foundation. Naymedici have no doubt got a great sound, but there are minor implications that could delude a crowd.

Going forward, and for me, act of the night, Saul Ashby rocked his curly socks off. Playing his sounds of stripped, boneless indie, he is a talent worth listening to. Putting a very basic, yet iconic style forward Saul has the ability to inflict his tones further. Recent single ‘Debutantes’ is a great sample of this. A feisty, yet fine track that offers a ‘What it says on the tin’ moment.

The Projectionists label themselves as “Manchester’s newest supergroup.” This, I’m struggling to come to terms with. The only thing super about this group was the bass player’s dire taste in clothing and bopping. We’re talking grandad style here. And yes, I know what you’re saying: “My grandad’s cool,” I’d like the thought of my grandad on stage too, just to give the band an axis. The group is a bit of misconception really. Even more so when they like to categorise themselves under the ‘indie-rock’ genre.

After the odd sigh and shuffle to and from the bar, headliners, Louise and the Pins ready themselves to mop up the mess made beforehand. Thankfully, we’re now getting somewhere. They deliver a steady, mellow approach in their live performance. Mainly you’ll be getting burlesque vibes from the prominent array of finely clothed women. But you’ll also get a nice flutter of feminine frolics. They are a band to look out for. And recent single ‘Bell Jar’ stands firmly tamed to sponge applaud.

James Whitehead is one such session guitarist, having worked with artists like Australia’s Eden James and rock and roller Eron Falbo, as well as producers Liam Watson (The White Stripes) and Mark Opitz (AC/DC, INXS, Kiss). He currently plays with pop upstart Saul Ashby and singer-songwriter Rob Bravery, who shot to fame with his YouTube cover of Lana Del Ray’s Video Games, which also features James’s tastefully restrained playing.

James onstage (Annelie Rosencrantz)

He might be classified as a session player, but James prefers a broader definition. “I tend to see myself as more of a live guitarist,” he says. “I don’t tend to get asked into studios to work with artists I don’t know. I’ve always wanted to be part of the band rather than a more distant check-in check-out session guy.”

That live playing is firmly rooted in the blues and rock n’ roll tradition (James Calvin Wilsey, Stevie Ray Vaughn, Jimi Hendrix, Jeff Beck), but also incorporates some classic guitarists from outside those realms (George Harrison, Mike McCready, Andy Summers, Lindsey Buckingham).

It was on discovering some of these heroes at the age of 17 that James started to have doubts about the car design course he was set to undertake, dropping out after six months and applying to study at the Academy of Contemporary Music in Guildford. Here, he eventually completed the Diploma, Higher Diploma and Degree courses in guitar over four years, leaving him far more qualified to talk guitars than EDGG!

Guitars

Considering his influences, it should come as no surprise to see James opt for a 1973 Fender Strat. Although much prized, it’s a guitar that has certainly seen a fair few, ahem, alterations over the years, as James explains, “It was originally Olympic White but got resprayed red sometime in the 70s, it’s had a neck pickup replaced in the 80s (I think it’s a DiMarzio) and someone even routed it for three humbuckers at one point! It’s beat to shit but it plays so well and has a distinctive sound to it that everyone I work with loves.”

James also plays a ’79 Antigua Strat, ’52 Reissue Tele, Epiphone Sheraton and a Gibson J185 acoustic. Not that we’re jealous.

Road-worn: James's Strat certainly has character

Amps

Fender are once again James’s manufacturer of choice when it comes to amps, in this case a ’65 reissue blonde Fender Twin. Again, James’s influences have a part to play in his choice of backline. “I always wanted that Strat into a Twin sound you hear on the first couple Chris Isaak records, as played by James Wilsey,” James says. “It responds really well to pedals without losing that crisp cut, and the headroom is endless.” A 15w Cornell Romany also sees studio use, while a (borrowed) 90s Fender Deluxe transistor amp carries the fort for smaller gigs.

Tweed envy: James's Fender Twin

Effects

James’s pedalboard is a work of great beauty and he’s understandably thrilled with it. “The new board allows me to get pretty much any sound I can think of,” he enthuses. “It took me around four years of experimenting to get to this setup but it’s sounding sweet.”

Clean and efficient: James's pedalboard is a finely-tuned tone machine

The foundations come from an Ibanez TS808 Tubescreamer (James’s first pedal) and a Way Huge Pork Loin, which simulates an amp on the verge of breaking up, a necessity due to the Fender Twin’s supreme headroom. Completing the dirt section is the D*A*M Drag’n’Fly, which covers both germanium and silicon tones, from Fuzz Face to Jimmy Page, while an Xotic Effects EP Booster kicks things up to 11 for solos.

The next part of James’s board is largely influenced by his current employment and the playing style that requires. “I love the atmospheric playing I do with Rob [Bravery]; it’s really what’s responsible for the elaborate pedalboard I’ve put together,” he explains. That’s where the Empress Tremolo and TC Electronic Nova Delay come in, adding ambience without taking away from the tone. With the delay in his amp’s effects loop, James’s signal is entirely true bypassed and runs through George L’s cabling, ensuring no degradation at any point in his chain. Hell, he even replaced his Boss TU-2 with a Korg Pitchblack to remove another buffer from his board: the man clearly knows what he’s listening for.

Different acts, different gear

One of the challenges facing James is the constant shifts in gear requirement, although buying all that new gear is probably less of a punishment and more of a pleasure, especially looking at all the pedal boxes behind his guitars in the photo below.

James's electrics, including his '79 Antigua Strat, '52 Reissue Tele and Epiphone Sheraton

Rock and roller Eron Falbo requires James to have a particular kind of guitar rig to nail the Rolling Stones-esque 60s tones Eron desires. “I’ve got some great Cornell gear: a First Fuzz, and a 15w Romany that I use with Eron to get that nasty Keith Richards tone,” James explains. “I also write with Eron from the beginning of the process, whereas with Rob [Bravery] and Saul [Ashby] I’m usually just writing guitar parts to a more or less finished song.”

Contrastingly, James compares current boss Saul Ashby’s pop stylings to those of Elvis Costello and Cat Stevens. As a result, his guitar rig is somewhat minimal, but James still faces the obstacle of getting the playing just right. “The sound I use here is either just the clean sound of the Fender Twin, or the Tubescreamer and a bit of tremolo for the overdriven stuff,” he says. “It’s the challenge of keeping the parts super simple and tight, yet memorable that’s fun from a playing perspective.”

James’s studio rigs (L-R): ToeRag Studios, Smokehouse Studios, Konk Studios

You can hear James’s playing with Rob Bravery on Facebook and catch him live supporting James Vincent McMorrow on his UK tour in February. James will also be performing with Saul Ashby in March; see Saul’s website for more details. You can follow James’s adventures in guitar playing on Twitter.

Image from http://www.artistdirect.com. (My camera was out of battery this night, sorry.)

On Saturday, I went to see Saul Ashby at The Wheelbarrow in Camden. I did not know him at all before, but that’s a thing I love to do: discover the artists while seeing them live. Unfortunately, today, with the growing prices of the concerts, it is becoming more and more difficult. One advantage (amongst many others) of living in a city like London is that it still hosts a lot of free gigs, perfect to discover great unknown bands.

I chose to see Saul Ashby because I had read on gigjunkie that this Londonian’s main influence was Simon and Garfunkel – this all alone was a valid reason to discover him. So I went to The Wheelbarrow, a small and wooded pub, friendly and unpretentious. The rocky walls and subdued lighting gave me the impression of entering a cavern, a cavern in which the men wear lumberjack jackets and enjoy their beer while listening to folky rock.

Saul and his acoustic guitar arrived on stage at 9.30, accompanied by a woman doing back vocals, a bassist, an electric guitarist and a drummer. As soon as they started to play, I was enthralled by the diversity of their music. How could I define it? A mix between folk, indie and western pop/rock, very swinging on some songs, and more melodious on others. The woman singing was incredible, she added African vibes and rhythm to the songs, and her beautiful voice matched perfectly with Saul’s captivating one.

Even though the stage was tiny, Saul and his musicians managed with their presence to take us very far away. During the first song they played, if I closed my eyes, I could see myself in a huge ranch, in the middle of horses, almost hearing the distant shots of some cow-boys… And during other ones, I thought I was on a beach in Southern Africa, in a stifling summer, dancing around a campfire.

Unfortunately, the journey they offered us didn’t last very long, and they left stage after playing for half an hour. At the end of the show, he kindly offered anyone putting their email address on his mailing list a CD. Therefore, I got mine, and now I can calmly enjoy travelling for free, thanks to the three great songs present on the CD, which you can listen here.

The Wheelbarrow, 55 Camden High Street, London NW1 7JH (subway Mornington Crescent or Camden Town). Entry was free.