We use cookies to help you navigate efficiently and perform certain functions. You will find detailed information about all cookies under each consent category below.
The cookies that are categorized as "Necessary" are stored on your browser as they are essential for enabling the basic functionalities of the site. ...
Necessary cookies are required to enable the basic features of this site, such as providing secure log-in or adjusting your consent preferences. These cookies do not store any personally identifiable data.
Functional cookies help perform certain functionalities like sharing the content of the website on social media platforms, collecting feedback, and other third-party features.
Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics such as the number of visitors, bounce rate, traffic source, etc.
Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.
Advertisement cookies are used to provide visitors with customized advertisements based on the pages you visited previously and to analyze the effectiveness of the ad campaigns.
Held By Hands is the brainchild of Matthew Johnson, a warped acoustic prodigy in a similar vein to Patrick Wolf. Imagne Wolf’s little brother, trapped away upstairs, with an acoustic guitar. He’s gutted; Patrick’s got the iMac, all the little bro’s got is a six-track, acoustic guitar and violin. Well Johnson’s invited his mates round, they all watched Sideways and stuck on a bit of Spiritualized. It’s now 4am, and, my word, they’ve cracked it.
“Found It Hard”, the opening track, clocks in at just over a minute, but manages to pack as much punch as the new Arcade Fire record in its entirety. “Trading” is the closest we get to Patrick Wolf, picking away at an acoustic whilst opening his heart, cymbals crash dramatically and violins pull the heartstrings. They even fit in a bit of echoing guitar and an archetypal British-post-rock group-sing-along. ‘Seven By Twelve’ is a softly spoken country jig with beautiful melodies and a little harmonica to boot. As with the opener, it’s a short dit, leaving you gagging for more. Final track, ‘A History of Forget Me Nots’, sounds like Foals without electrics; instead of bleeps and funky basslines, we get under produced drums, hand claps, acoustic guitars and violins. It’s acoustic nu-rave, which actually sounds a lot better than you’d think. The EP, in a nutshell, is one of the most diverse and expanding things I’ve heard all year. This band/man/collective have the potential to be huge.