Following the release of their astounding debut single - Bloodsports, and tours with the likes of Deap Vally and The Cribs, Castleton’s Drenge have unveiled a brand new single titled Backwaters. Here the duo of brothers provide an unholy racket of crunching, blues-laden guitars and storming percussive elements, with the rock credibility of Led Zeppelin and the swagger of The Stooges.
Hello and welcome to the seaside. I’ve been down in sunny Brighton enjoying the new music at The Great Escape festival but, alongside my shades and bikini, I packed this week’s releases to deliver Sunday’s Albums Round Up to you as usual.
My Album of the Week is from Boats. Don’t be put off by the opening to A Fairway Full of Miners: theintroductory track, ‘The Noodle Mountains’, is a weird pointless buzz lasting 7 seconds. Thankfully the first real song on the album ‘Animated GIFS’ soon kicks in with its rimshots and quirky vocals of Mat Klachefsky, and the collection comes alive. Alongside the synths and upper register voice are flashes of glockenspiel and brass that broaden the musical palette with great dexterity. ‘Great Skulls’ has buzzy bass synths and peppy beats forging a pop backdrop for harmoniously chiming guitars. It’s a great little indie anthem, full of quirk: tambourines, brass, a hooky bass, an “ooh, ooh, ooh” singalong part, and a fine guitar solo all appear before the final question pitches a sense of unease beneath the sunshine: “why did we end up here?”. ‘Advice on Bears’ marries bass and twiddly guitars with aplomb. ‘Sad Legs’ has laser gun synths firing off; but the vocal harmonies, relentless tambourine and upbeat bass drive it towards a danceable pop song for all its kooky spaceyness. ‘We Got Pillow and Blankets’ has the appeal of simple guitar lines combined with hi hat and a melodica until butch male voices kick in near the end as if they’ve stumbled out of Pet Shop Boys’ ‘Go West’ and into a cutesy quirky teenage dream. Closer ‘The Salteen Coast’ reflects on when “we… made out on the beach” but it’s no indulgent reminiscence. After that line is uttered (towards the end of the track) minimalist shifts of tone bring the album to a quiet and reflective close. It’s quite a moving and poignant final moment, particularly after it opened up with hints of feedback and chiming synths, smacky beats and bass strings. Whilst Klachefsky’s voice is not to everyone’s taste, A Fairway Full of Miners is an intelligent and unique album that will engage and surprise. Highly recommended.
http://www.youtube.com/watch?v=rd3il-whwvo
My Wildcard of the Week is from Just Handshakes, whojust Say It tomorrow. The Leeds band open up their indie debut with plenty of jangly guitar sounds and a sweet vocal on ‘London Bound’. The production promotes the band’s arrangement over the vocal slightly so the collection has a classic C86 feel. The title track has a poppy riff set against the bittersweet jaded lyrics: “when will you find something to believe in?”. ‘Dead and Alive’ has layers of synthesizers and a catchy chorus – and choruses are what the band does particularly well. In ‘Shadows’ the upbeat track moves towards an anthemic singalong with “let’s find a bar and forget who we really are; won’t you come out tonight?”. The skillful synthpop of ‘Balmoral’ closes the album convincingly. Say It is an engaging collection of charming indiepop songs. Recommended.
https://soundcloud.com/bleedinggold/just-handshakes-bright-lights
Majical Cloudz releases Impersonator this week. Montreal’s Devon Welsh focuses on internal processes such as desire and grief to create intricate and expressive electronica. With collaborator Matthew Otto, Welsh creates minimalist, distilled portraits using loops, static, modulated synthesized sounds and carefully chosen beats. ‘This is Magic’ has a warm tone to it – simple chords and clear vocal about the strength of acknowledging one’s weakness. The opening title track warps the sighing vocal on loop until Welsh adds the lyrical line over the top, with a sense of yearning: “I want to feel like somebody’s darling”. The following wordless hook “dahhhh, dah dah dah dah, dum dum” gives the impression of being carefree but the precise arrangement gives a subtext of false lightness. Closing track ‘Notebook’ has some moving sustained vocal notes placed over the backdrop of slightly buzzy keys. Impersonator is a minimalist and intense sonic experience about human emotions we all share.
http://www.youtube.com/watch?v=05gZ4lYi-Ho
Middle Class Rut want to Pick Up Your Head tomorrow. Zack Lopez and Sean Stockham may be a duo but their collective energy and musicianship is to the power of ten. Sotckham’s drumming is all rapid volleys, and Lopez’s guitar is reverbed to the max whilst his vocals are purposeful statements of intent. ‘Born Too Late’ opens the album with all guns blazing, from Stockham’s heavy hits to Lopez’s impassioned shout. ‘Leech’ brings the addition of bass to the fore for the first time and its effect is insouciantly sexy, whilst ‘No More’ has some ear-catching sliding guitar. There are experiments with instrumentation that dare to mix up the duo’s approach. ‘Cut the Line’ has crashy, trashy drums, whilst the title track has a complex percussive line that startles the listener. ‘Police Man’ has a slow-burn guitar solo that transcends into a harmonic layer of sound that then turns chaotic. Pick Up Your Head takes the Middle Class Rut template and tears at the edges, giving even more raw vibrancy to the band’s sound.
http://www.youtube.com/watch?v=26v2N995uUc
London boys Tribes return this week with Wish To Scream. Despite the title of the collection the songs have an upbeat feel, with ‘Get Some Healing’ providing a rousing chorus in a piano and guitar-led number: “gotta laugh harder, gotta find each other”. ‘Sons and Daughters’ has a catchy bass part and plenty of riffs, whilst ‘Englishman on Sunset Boulevard’ adds a gospel choir to give the track some anthemic power alongside its rock and roll roots. Wish To Scream is another confident release from the English quartet.
http://www.youtube.com/watch?v=1PFOE5-wHCY
Delta Mainline is Oh! Enlightened this week. This debut collection from the Scottish band is playfully experimental in style, from the woozy dreampop introductory track ‘Tus Nua’ to the fuzzed up guitars and stompy drums of rock and roller ‘Misinformation’, and the all-out attack of rock anthem ‘Stop this Feeling’. Singer David McLachlan spans the range of emotions in ‘The Church is up for Sale’, from the darkness of the lyrics through uplifting melodic shifts of the brass section. ‘Dead Beat Blues’ is a laidback number, whilst ‘Fixing to Die’ travels in the opposite direction, reaching a mighty climax mid-way through. ‘Dark Energy’ is a slow burner with piano and guitar gently beginning the song before it takes a variety of twists and turns which ultimately reach a dizzying level of squally feedback. Oh! Enlightened is a bold first record from the Edinburgh septet.
https://soundcloud.com/delta-mainline/8-florentine-regime-aiff/s-WACYx?in=delta-mainline/sets/delta-mainline-oh-enlightened/s-WACYx/s-WACYx
And that’s it for this week. I’ll see you next week in London, posting next week’s column whilst I nurse my Field Day hangover. Until then I better take it easy – who’s for a stroll along the pier?
Words and thoughts of Amanda Penlington
In regards to new music, The Skints have been pretty quiet, over the past few months: yet the East-London quartet has still managed to tour relentlessly, following last year’s release of their second album Part & Parcel. And now, with the Summer drawing ever closer, the band have unveiled a brand new music video for their new single Out My Mind.
Named after the 60s comic book of the same name, London’s Men’s Adventures are currently preparing to release their debut EP Solitary Trip, and have recently unveiled a brand new song - Feeling Bad. And formed of core members Alfie Smith and Jimmy Casson the band are continuing to purvey the psychedelic sound that they’re becoming renowned for, built on a foundation that covers mid 20th Century
Pharrell Williams has certainly upped his game over the past few month, having soared to the top of his league, as well as the top of the charts with a certain french-house duo. Therefore it comes as absolutely no surprise that the singer’s influence is beginning to prevail significantly. Take the lead track from Barbarossa’s forthcoming album - Bloodlines - for example, furnished with a sophisticated and soulful groove that soars above the underlying urban notion, and the tender vocals of James Mathé.
Yet somehow, Mathé manages to wear his influences upon his sleeve while still managing to process a replenishingly fresh sound that has “2013” stamped all over its surface. With a blend of alt seasoned R&B that manages to showcase the singer’s musicianship as a solo artist, after having released music via the Fence Collective and having toured as part of Jose Gonzales’ live band.
Bloodlines will be released on August 5th, but for the meantime you can listen to Turbine below and download the track here.
Words & Thoughts of Jonathan Hatchman
Taken from the singer’s True EP, Ms. Knowles has dropped yet another slice of idyllic pop-bliss. Following the atmospheric R&B vibe that Solange is becoming so renowned for, and teamed with a delicate groove, produced by Dev Hynes, that sets the singer and her array of delicately laced audial gems into a league of her own. And as if that alone wasn’t enough, the track features a verse from none other than Kendrick Lamar, providing a dash of intrinsic Hip-Hop for the mixture, in the rapper’s second internet offering, in the past few weeks.
Last week singer songwriter Pete Roe’s album was our Albums Round Up Wildcard of the Week. On Sunday night he headlined Bristol’s Folk House, delighting a receptive audience with songs from Our Beloved Bubble.
Backed by support band Hot Feet Roe’s great narrative songs, such as the pub-inspired tale of ‘After Hours With Johnny Guitar’, shone in the intimate and relaxed setting.
Introducing the autobiographical ‘Counting Backwards Slowly’, Roe recalled how his time as a student in Bristol was a poor one, living on Park Street where the Folk House is situated.
Highlights of the night were the exquisite melodies of ‘Her Own Magnesium Glow’ and ‘Creeper’s Call’, with Roe’s dexterous playing being the perfect foil for his warm and earnest vocal style.
Closing with the album opener ‘A Strange Kind of Mystery in the Air’, Roe and the band were evidently delighted by the reception in his adopted hometown. The audience, who had been attentive for the entire evening, recalled Roe to the stage for an encore which saw a member of the audience join in on piano for a bluesy jam.
A great evening of quality songwriting, played well amongst friends.
Words and thoughts of Amanda Penlington
Young Australian band San Cisco brought their youthful indie sounds to Bristol last week as they supported the quirky American pop of Darwin Deez.
The dreampop of ‘Wild Things’ impressed, with the band receiving a warm welcome from the crowd during their first time in Bristol.
The uptempo number ‘Fred Astaire’ got the audience dancing as singer Jordi Davieson’s youthful voice sounded like a young Ezra Koenig.
Vocal duties were also taken on by drummer Scarlett Stevens during the stalker-inspired track ‘Awkward’, with its “da-da-da-da” singalong hook.
‘Beach’ made the crowd long for the warmth of Australian climes, with the sprightly guitars of Davieson and Josh Biondello creating the perfect summery soundscape.
After San Cisco proved themselves as rising stars on the international indie pop circuit, Darwin Deez took to the stage.
Deez had previously played at Bristol’s famous Thekla venue, a more intimate location than tonight’s O2 Academy stage. Nevertheless, the band filled the auditorium with their infectious and charming sound.
Old favourites from the debut album, like ‘Constellations’ and ‘Bad Day’, got the crowd singing along vociferously.
But more recent material, notably the single ‘You Can’t Be My Girl’, also received rapturous responses and some fine dance moves from the audience.
The breakthrough number ‘Radar Detector’ was a great highlight as the elongated limbs of Deez danced seemingly independent of his skilled guitar playing. It’s easy to underestimate the musical prowess of Deez in a show that takes breaks between numbers for synchronized dance routines. However, taking his guitar behind his head for a lead solo silenced any doubters. The band returned for an encore, with Deez allowing the crowd to choose between ‘Bomb Song’ and ‘Free’. They chose to sing along to the former, its dark-hearted lyrics belying the upbeat melody and demonstrating why Deez is one of the cleverest songwriters around.
A great night of indie pop.
Words and thoughts of Amanda Penlington
With the impending release of a new EP, Eddie, the latest offering from Stockholm’s mysterious Everywhere, is available to download for free, over on the band’s Soundcloud page. Recorded at Los Angeles’ East West Studios with Mark Needham taking on production duties.
Described by the band as “a little song about a plan that completely backfired”, the single builds gently as a rumbling bass and pulsating drumbeat back the track’s verse vocals, before a shimmering piano is added to the equation for an arena sized chorus section, catapulting the track into the midst of genre defining, tantalising rock music.
We’re expecting a huge heap of success for Everywhere, and you can stream and download the song below.
Hello and welcome to this week’s Albums Round Up. Like a tree spreading skywards and bearing blossom we’ve got some beautiful music spreading throughout the column this week.
My Album of the Week is Curiosity by Wampire. Opening up with ‘The Hearse’, an upbeat synth pop number with smacky beats and an insistent vocal: “nobody knows what I’ve done”, Curiosity has an 80s pop sensibility. Nevertheless, ‘Giants’ has 60s surf pop drums and guitar leading the way before a wall of wah-ing reverb and minor key synthesizers bridge the intro to the verse with wonkily dark bubblegum pop. ‘I Can’t See Why’ has a garage band slacker pop charm with a psychedelic organ driving it forward. ‘Trains’ has a mellow bass and glassy faux chimes. Its engaging electric guitar line gives a bit of rock edge whilst the vocal remains slightly aloof: “don’t leave me out in the rain”. ‘Magic Light’ closes the album with an ambient fuzz of keys and drum machine; the vocal is pumped through an echoing amplifier, giving the impression of being delivered through a megaphone. The lyrics’ romantic clichés are rendered wittily self-conscious and questionable by this megaphone device: “I just wanna give love to you and hold you tight”. Curiosity is a weird, wonky and wonder-filled album from Wampire. Highly recommended.
https://soundcloud.com/polyvinyl-records/01-the-hearse
My Wildcard of the Week is Plans from The Deep Red Sky. Guitars, keys and glockenspiel combine with a strong rhythm section to create richly textured soundscapes that form the backdrop for intricate vocal harmonies. Opening number ‘Zombies (Things Don’t Stay the Same)’ blasts off with verve but its verses bubble along by stripping away the arrangement to focus on voices. The track builds to a crescendo, erupting with a determined drive forward from the percussion and guitars. ‘Getting Easier’ is a reflective song about moving on, its perky hi hat and bass drum, coupled with clean guitar meanderings, create positivity despite the evident emotional struggle suggested by the lyrics. The title track is a slow burner, with stripped back bass and a little guitar backing the vocal harmonies to create an intense but tender atmosphere. The song eventually erupts into an anthem of guitars and drums before an ear-catching guitar solo bridges a return to the quieter approach. ‘Sirens’ closes the album with full-throttle guitar noodling and snares leading the volley before the track settles into a richly-textured rock ballad. Plans is a convincing and accomplished album from one of Scotland’s most exciting young bands. Recommended.
http://www.youtube.com/watch?v=goufzsPwHG4&feature=youtu.be
Small Black shows us their Limits of Desire tomorrow. Opener ‘Free at Dawn’ bubbles along on a synthy pulse before washes of reverberation emerge and an echoing vocal pops up. ‘No Stranger’ has crunchy bass synths as Josh Kolenik’s voice raises to his upper register and reedy synths blast in. A disco beat with tambourine and snare make it an upbeat poppy number despite the airy, slightly distant vocal. ‘Proper Spirit’ has jangly guitars and a cacophonous pop blend of vocal harmonies. ‘Limits of Desire’ is a dreampop number with gassy synths and light female backing vocals. Closer ‘Outskirts’ begins with a sample of the sound of the sea before flicky guitars and some peppy hi hat create the backdrop for another chilled vocal from Kolenik. Limits of Desire is a pleasant indie pop album with energetic synths, hazy vocals and danceable beats. Recommended.
http://www.youtube.com/watch?v=gWdVH-SVqKc
Marques Toliver is in the Land of CanAan this week. ‘CanAan’ is a touching opener with Toliver’s soft vocal wrapped amidst harmonious backing and soaring strings. ‘Stay’ combines the folk fiddle tradition with European classical music in a hooky and skillful violin part before the vocal delivers a smooth soulful groove. ‘Try Your Best’ has staccato strings and a vibrant glockenspiel as well as rich harmonies; when the high-pitched waterfalls of Toliver’s violin kick in the track reaches a turning point. ‘Weather Man’ is a relaxed acoustic guitar strum of warm summer days: “the grass is wet as the clouds roll by”. Toliver’s voice ranges higher as he resolutely refuses to give in to the idea of bad weather, believing in a “better tomorrow”. Brushed drums give a relaxed percussive backdrop and a horn solo adds a jazzy feel. ‘Something’s Wrong’ is classic 70s soul with its falsetto tilt and busy organ flourishes. Land of CanAan is a glossy and impressive debut album from the multi-instrumentalist soul singer. Recommended.
http://www.youtube.com/watch?v=K2cWdb6N4rg&feature=youtu.be
Stagecoach asks us to Say Hi to the Band this week. Opening track ‘WorkWork Work’ is full of ear-catching hooks, a bouncing bass and crashing riffs. ‘I’m Not Your House’ is anthemic to the point of being cinematic in its shift from acoustic to electric guitars. ‘Action’ has a poppier appeal in its relentless tom tom hits and clanging riffs. Piano and horns pop up next to smooth soaring guitar work on the slow dance number ‘A New Hand’, whilst ‘Theequel’ is full of ambitious guitars clambering ever skywards over insistent percussion. Closing track ‘VideoShop’ is a thoughtful acoustic affair that concludes the album with surprising delicacy and intimacy.
http://www.youtube.com/watch?v=vyyxZXtREJI&feature=youtu.be
Ben Marwood is ready to Back Down now. On his second album the singer songwriter moves between simple acoustic arrangements of voice and guitar to full band numbers with the help of a variety of musician friends. The production on the record is clean, ensuring that each song sounds as clear and as live as possible. ‘For the skin and the bone’ is just voice and acoustic strings, the mixture of anger and regret vocalized in the line “it’s really no use ’cause in the end you die alone” is startling. ‘The soundtrack to the trailer for your miserable Christmas special’ is a haunting glockenspiel instrumental, like a spooky music box filled with bitterness. ‘Under lock and key’ has delicate finger picking that belies the narrative of murder at its black heart. ‘I promise you that it will be ok’ is a raucous full band number with banjo and rhythm section backing Marwood and his guitar. Similarly ‘We are no longer twenty-five’ has the addition of steel guitar and crashing cymbals to pep it up. Back Down is another engaging, bittersweet album from Marwood.
http://www.youtube.com/watch?v=mvitZExc7ds
Mark Lanegan and Duke Garwood collaborate on Black Pudding. The title track opens up the collection with an instrumental founded on intricate finger picking that recalls classical Spanish guitar. ‘Pentecostal’ follows with a sliding tilt to the guitar work that creates a tension before a hint of percussive shaker and Lanegan’s rough-hewn voice issues forth. ‘Sphinx’ has clean finger picking that rings out sharply whilst Lanegan uses a distant whisper; the addition of a droning string creates an unsettling atmosphere. The arrangement of ‘Last Rung’ is as deep and stark as Lanegan’s trademark growl, befitting its lyrical content: “all this gloom in my mind’s eye”. ‘Cold Molly’ stands out as a funk-fuelled track that alters the lugubrious pace and delivery of the rest of the collection. Lanegan’s world-weary vocals and Garwood’s skilled musicianship combine on Black Pudding to create a thoughtfully dark and impressive album.
http://www.youtube.com/watch?v=7U1y-af2Q9E&feature=youtu.be
Vision Fortune releases Mas Fiestas con el Grupo Vision Fortune tomorrow. And despite the album title and the smiling Mariachi band on its cover, the album is actually an edgy post-rock collection with track titles named after roman numerals that don’t run in order. Instrumental opener ‘XXII’ is a buzzy snarl of almost single-note guitar for 30 seconds before snappy percussion kicks in. After variations on the guitar the drums echo out alone before the guitar sounds return at a different pitch and with an urgent staccato rhythm. ‘XIV’ seesaws on the guitars before a bit of melodic bass takes over and the percussion veers between kit and sticks. Harmonious voices drift into earshot as the guitars flick away. This experimental concept album plays with notions of jarring elements, halting rhythms and slow progressions. It’s anything but easy but if you like experimental sounds it will be right up your street.
https://www.youtube.com/watch?v=25o6Ul3ghJs
And that’s it for this week. I’ll see you next week for more new music. Until then, spread your branches wide and release those petals on the breeze.
Words and thoughts of Amanda Penlington
In the lead up to the band’s jaunt down to Brighton for their set at this year’s Great Escape, London’s Arrows of Love have unveiled the video for their new single – The Knife, a previous live favourite from the band’s riotous live sets. Initiating with the solemn, restrained sound that would have, perhaps, been expected taking place within the setting of a place of worship. Loaded with a distinct element of distressing melancholia, not dissimilar to the tone purveyed by The Velvet Underground, via the band’s 1967 debut album, yet seasoned with the defining elements of punk, grunge and heavy rock music.
While towards the single’s finale, a pounding bass drum engages an emphatic breakdown of flailing punk tinged raucousness that sends the previous three-minutes swirling into a pit of insignificance, as weighed against the track’s climatic conclusion. Continuing to prove the band as a credible rock act, in the build up to September’s release of Arrows of Love’s debut album Everything’s Fucked.
The Knife will be released on June 3rd.
Words & Thoughts of Jonathan Hatchman
Having only appeared in January, Norway’s Farao is already beginning to accumulate a striking deal of support. Having released a free download single - Forces - the singer-songwriter is now preparing her, official, debut single Skin, recorded in Reykjavik with Tunng’s Mike Lindsay, shining a dazzling beam of light onto the songstress’ enchanting vocal tone. So with the release of the single, and a debut headline show, here in the UK, we caught up with Farao for a quick chat. Here’s what she had to say.
Hello Farao, how and when did you decide to become a musician?
I decided that I wanted to be a musician when I was about 19 years old and started writing my own songs. It felt like everyone else had their whole life planned out and my friends were studying to be a physiotherapist, nurse, teacher… that kinda stuff. I just wanted to play music, so I thought, that’s what I have to do.
You’re set to play your first UK headline show later this month, are you looking forward to it?
Yeah, very much so. It’ll be great to play with the full band again, since I’ve done most of the tour solo.
How do you prepare for touring?
I make sure I have good films and documentaries to watch while in the van, and put new music that I haven’t checked out yet on my phone. The biggest part of touring is travelling, so I make sure I make the most of it.
How did you hook up with Mike Lindsay, for your new single Skin?
My manager had met him a couple of times, and we basically asked him if he would be interested in recording the EP. I was very excited when he said yes and I booked my flights to Iceland. Recording there was an amazing experience, and I really hope I get to go back there soon.
What do you feel that he brought to the table?
Mike was a great producer. We are quite similar minded when it comes to what to focus on in the recording process. He hadn’t really heard the songs when I got there, and his fresh ears combined with my obviously close relationship with my songs was a good combination.
How do you go about writing your music?
I almost always write the melody and arrangement before I write the lyrics. I always know what the song will be about while writing the music, but do the lyrics last. I try to experiment with different ways of writing, especially writing on different instruments and I use a lot of different tunings too.
Apart from the UK tour, what are your plans for the summer?
Can’t wait to go to End Of The Road Festival in Dorset and Øya Festival in Oslo; I’m dreaming about it everything night. When I’m in London I work part time in a brewery, so I’ll have to spend a considerable amount of time sampling the beer.
Farao’s debut single Skin will be released on May 27th. Watch the video below.
Interview by Jonathan Hatchman
Having originally formed as a punk band while still at school, Manchester’s The 1975 are preparing their fourth EP, titled IV, and are proving it impossible to administer the band’s sound to just one single genre. With the EP’s lead track The City and top 20 hit Chocolate purveying a quintessentially indie pop sound, yet laced with danceable beats and grooves that are sure to explode across this summer’s festival scene.
However, the band’s latest offering Haunt // Bed is a slowed down number that focuses on subdued vocals, with a replenishing tropical vibe that seems to be another hit-worthy slice of ethereal bliss from The1975. A band that are sure to be colossal by the time that their debut album surfaces.
IV will be released on May 20th, meanwhile listen to Haunt // Bed below.
Words & Thoughts of Jonathan Hatchman
As the summer begins to surface, a distinct element of Bowie-mania is still trickling into our everyday lives. With a huge exhibiton at London’s Victoria & Albert Museum, coinciding with the release of The Next Day, David Bowie’s 24th studio album, and his first LP release since 2003’s Reality. So with the continuing array of hype surrounding the iconic singer’s recent release, a brand new music video has, today, been unveiled to accompany the album’s title track.
Recruiting Marion Cotillard and Gary Oldman, while Bowie plays a, perhaps slightly sacrilegious, Christ-like figure, as he performs the song inside a church brothel, laden with religious iconography. Amongst the set there’s a selection of prostitutes, monks and a praying nun. All accompanied by The Next Day’s crunchy rock guitars and trademark Bowie vocals.
It all seems a little strange, but what else did you expect from David Bowie?
Watch the video here: http://vevo.ly/17IG4ok
Words & Thoughts of Jonathan Hatchman
