Melic

Any album that takes 5 years to mould and sculpture together is greeted with an intensity of expectation, as well as wall of collective respect by the opinion leaders of the musical universe. However, proving the respect is not misplaced, and satisfying the levels of expectation is what really matters, and if any artist can achieve this – to reluctantly quote an outdated cliche – ‘the rest is history’…

London based New Zealand band Melic are the latest daredevils attempting to conquer this mean feat, with their brand new record ‘An Hour To Anywhere’. Constructed throughout the English capital in a trio of studios the bands debut album is on call to rifle its way to success. And with the pre-album narrative in the bag, the heightening expectations of future listeners everywhere is practically audible.

Opening track ‘Better Off Before’ strikes off proceedings, politely bowing its way though an unnaturally calm 43 second guitar intro, welcoming the strengthening drums which carry us for a further 17 seconds of delicate simplicity. Mark Hitchcock‘s typically acoustic voice hovers in, zipping everything together with its unpredictable bluesy tones, resulting in a perfect opening chapter for an album which will surely be brimming with ballads.

The better half of a previously released double single ‘Nowhere I’d Rather Be’ demonstrates the potent consciousness of the album, somewhat heavier than the previous, it safely navigates itself through a distortion fuelled intro. Hypnotically emotive lyrics shuffle in like a tide of imperfect emotion, showcasing a real subtle understanding of the unexpected strength of simplicity.

‘An Hour To Anywhere’ is a very promising record, with the diamonds certainly overshadowing the rough then this is certainly worth the listen. On the other hand, if it doesn’t grab you by the moustache, make sure Melic are added to the ‘potential future music messiahs’ note on your iphone, as all the album needs is a good ironing, removing the unnecessary creases, paving the way for a memorable band.

By Charlie Sellings - Lyric Lounge Review - UK

On the Riverside Stage, London four-piece Melic successfully blended their diverse musical backgrounds – classical, funk, metal and rock – with the bluesy "Nowhere I'd Rather Be" a particular highlight. - The Independent

On the Riverside Stage, London four-piece Melic successfully blended their diverse musical backgrounds – classical, funk, metal and rock – with the bluesy "Nowhere I'd Rather Be" a particular highlight. - The Independent

Liverpool Sound and Vision Rating 9/10

One of the shining lights of new music to come out of London, the outstanding Melic, is an experience that if left unheard for too long could cause the listener to hang their head in shame at the sound they have let go past them. Now there really is no excuse to let them pass anybody by as they release the incredible and timely An Hour To Anywhere.

After five years in which various tracks have surfaced on E.P.s and at highly rated gigs from London to Liverpool and as far away as New Zealand, the album must be considered certainly well worth the wait and the foursome who have made this inspired music that lurks throughout the album as stars for the future. The names of Andrew Coogan, Romy Bylin, Steve Hitchcock and Mark Hitchcock will surely be as well-known as those that have come along from the capital in the last 50 years as time goes by.

Whether it is from the superior lyrics and vocals, the beating heart of the drums which in parts were with a gentle outlook but superb savage-like swagger supplied by Andrew Coogan, one of the best combinations of saxophone and keyboards around and guitars that feel as if they have been possessed by some errant spirit with a mischievous unspoken ability to get the best sound available from the instrument, the players have laid down tracks that with fortune on their side will be looked back at years to come as if it is a defining moment in music.

Kicking off the album with the moody Better Than Before, immediately strikes the listener as if being coaxed into a bar room brawl with the promise that you can just sit there and watch, nothing will happen to you but then realising you have been thrust full on to the action. Melic may have invited you in but they will make sure that you’re not leaving without taking several of the detractors and naysayers with you. By the time they have played the exciting Nowhere I’d Rather Be, the sublime He Was A Fighter, the drip like effect that excellence alludes to in Through The Storm, the feeling of sensationalism in Pacific and the adorable Inhaling Butterflies, the listener will feel so energised by the encounter that it’s conceivable they will be asking to have another go whilst rolling up their sleeves and snarling at those few bystanders left in the building.

If a week is a long time in politics and a day can last forever, then An Hour To Anywhere is a journey worth taking and savouring each and every minute.

An Hour To Anywhere is released on August 5th on Beatnik Geek Records.

Ian D. Hall - Liverpool Sound & Vision

Liverpool Sound and Vision Rating 9/10

One of the shining lights of new music to come out of London, the outstanding Melic, is an experience that if left unheard for too long could cause the listener to hang their head in shame at the sound they have let go past them. Now there really is no excuse to let them pass anybody by as they release the incredible and timely An Hour To Anywhere.

After five years in which various tracks have surfaced on E.P.s and at highly rated gigs from London to Liverpool and as far away as New Zealand, the album must be considered certainly well worth the wait and the foursome who have made this inspired music that lurks throughout the album as stars for the future. The names of Andrew Coogan, Romy Bylin, Steve Hitchcock and Mark Hitchcock will surely be as well-known as those that have come along from the capital in the last 50 years as time goes by.

Whether it is from the superior lyrics and vocals, the beating heart of the drums which in parts were with a gentle outlook but superb savage-like swagger supplied by Andrew Coogan, one of the best combinations of saxophone and keyboards around and guitars that feel as if they have been possessed by some errant spirit with a mischievous unspoken ability to get the best sound available from the instrument, the players have laid down tracks that with fortune on their side will be looked back at years to come as if it is a defining moment in music.

Kicking off the album with the moody Better Than Before, immediately strikes the listener as if being coaxed into a bar room brawl with the promise that you can just sit there and watch, nothing will happen to you but then realising you have been thrust full on to the action. Melic may have invited you in but they will make sure that you’re not leaving without taking several of the detractors and naysayers with you. By the time they have played the exciting Nowhere I’d Rather Be, the sublime He Was A Fighter, the drip like effect that excellence alludes to in Through The Storm, the feeling of sensationalism in Pacific and the adorable Inhaling Butterflies, the listener will feel so energised by the encounter that it’s conceivable they will be asking to have another go whilst rolling up their sleeves and snarling at those few bystanders left in the building.

If a week is a long time in politics and a day can last forever, then An Hour To Anywhere is a journey worth taking and savouring each and every minute.

An Hour To Anywhere is released on August 5th on Beatnik Geek Records.

Ian D. Hall - Liverpool Sound & Vision

Variety is the spice of life they say. Probably because much like a curry plenty of variety will leave you with a big smile, a red face, streaming eyes and a runny nose; but all in a good way except maybe that last one. With this in mind I hope your ears enjoy a good musical curry because Melic certainly give you plenty of sound spices. Melic, on Beatnik Geek Records, are here with their debut album An Hour to Anywhere.

A bright yet slightly urgent riff opens the album as Better Off Before kicks in. This is soon joined by a piano line laced with promise. Flowing into crisp drumming the starter is completed by versatile vocals. The poppadum round of the album, Better Off Before starts of gentle and welcoming like mint yoghurt before hitting the chorus and a little lime pickle. The tentative gentle tones of the verse turn into a charged riff lead chorus as Melic question whether they were better off before. The track shifts up a gear as the whole band is showcased. This is highlighted by a wandering guitar solo and varied intensifying vocals.

Part of Melic’s sound buffet is a little heat. Delivered in their rock sound and pop hooks Melic use tracks such as Nowhere I’d Rather Be, Ripples and Inhaling Butterflies to create energy laced creative music. Part of their double A-side Nowhere I’d Rather Be delivers a punchy guitar riff, strong crisp drumming and happy sentiment. This positive sentiment is reflected in Ripples and shows the often under-used potential of rock led music. Ripples launches on to your sonic palette with a big ominous and almost 80’s building riff and chorus before switching to something entirely more Latin in the verses. An intelligent breakdown leads to one more burst of passion. Inhaling Butterflies sounds like an odd dish to serve but when it reaches your brain it proves to be a good one. A funk laden bass line and subtle guitar work combine with crisp drums to show another element of Melic’s sound. A funk lead breakdown and drum led build up create an energised and big finish.

These are just a few of the sounds Melic use in their music however. Breaking up these moments of heat are some quieter but equally varied moments. One such moment is He Was A Fighter. A gentle acoustic guitar and heartfelt vocals tell the tale of someone who refused to give up. The track picks up more new sounds as it grows than a pair of shoes in a club. As the track reaches its end it has achieved a new level of acoustic and vocal intensity with undeniably tasty sax undertones and vocal production. No Escape begins in a swirl of sombre synths as strong drumming carries the track. Soon after, an uplifting acoustic riff and harmonica take No Escape out of this swirl into another uplifting tale. The relaxed pace of the first verse is changed up with infectious energy as Melic once again raise the bar and carry you along on their journey. Piano, drums and vocals bring No Escape to another big finish. Cemetery shows Melic at a slightly more thoughtful and reflective space. A piano heavy track, the verse turns into a gently uplifting chorus followed by a subtle step up in sound. Complimented by strings the Cemetery continues to show the variety of sounds Melic bring together across An Hour to Anywhere.

Ever thoughtful Melic even work dessert into their musical feast. Sadly they don’t come in that plastic penguin but still they do the job nicely. One such moment is the interlude Pacific. Rising out of crashing waves Pacific has a dark moody tone as the Melic create a chilled jazz vibe. Sombre piano, crisp drums and a trumpet combine effortlessly to create a growing soundscape that is easy to get lost in. This is nothing like the other dessert option, which is like nothing else on the album. Ting Tong takes you on a journey to a 70’s disco somewhere ruled by flares. Genius hooks and a catchy chorus invade your brain like Spanish Absinthe in the house party punch.

Across the twelve tracks on An Hour to Anywhere Melic show the heights and range of their creativity and skill. Every song is delivered with talent, but no one song sounds like another. Even still Melic manage to create a unique sound for themselves. Other songs that shine bright include Through the Storm with its combination of electric and acoustic guitar and bright chorus, and The Chase which uses an energised acoustic sound to tell the story of an irrepressible guy on the pull.

Rock sounds, pop hooks, versatile vocals, variety and generally thoughtful or uplifting themes make this something to feast your ears on.

David Horn - GIGgle Pics

Variety is the spice of life they say. Probably because much like a curry plenty of variety will leave you with a big smile, a red face, streaming eyes and a runny nose; but all in a good way except maybe that last one. With this in mind I hope your ears enjoy a good musical curry because Melic certainly give you plenty of sound spices. Melic, on Beatnik Geek Records, are here with their debut album An Hour to Anywhere.

A bright yet slightly urgent riff opens the album as Better Off Before kicks in. This is soon joined by a piano line laced with promise. Flowing into crisp drumming the starter is completed by versatile vocals. The poppadum round of the album, Better Off Before starts of gentle and welcoming like mint yoghurt before hitting the chorus and a little lime pickle. The tentative gentle tones of the verse turn into a charged riff lead chorus as Melic question whether they were better off before. The track shifts up a gear as the whole band is showcased. This is highlighted by a wandering guitar solo and varied intensifying vocals.

Part of Melic’s sound buffet is a little heat. Delivered in their rock sound and pop hooks Melic use tracks such as Nowhere I’d Rather Be, Ripples and Inhaling Butterflies to create energy laced creative music. Part of their double A-side Nowhere I’d Rather Be delivers a punchy guitar riff, strong crisp drumming and happy sentiment. This positive sentiment is reflected in Ripples and shows the often under-used potential of rock led music. Ripples launches on to your sonic palette with a big ominous and almost 80’s building riff and chorus before switching to something entirely more Latin in the verses. An intelligent breakdown leads to one more burst of passion. Inhaling Butterflies sounds like an odd dish to serve but when it reaches your brain it proves to be a good one. A funk laden bass line and subtle guitar work combine with crisp drums to show another element of Melic’s sound. A funk lead breakdown and drum led build up create an energised and big finish.

These are just a few of the sounds Melic use in their music however. Breaking up these moments of heat are some quieter but equally varied moments. One such moment is He Was A Fighter. A gentle acoustic guitar and heartfelt vocals tell the tale of someone who refused to give up. The track picks up more new sounds as it grows than a pair of shoes in a club. As the track reaches its end it has achieved a new level of acoustic and vocal intensity with undeniably tasty sax undertones and vocal production. No Escape begins in a swirl of sombre synths as strong drumming carries the track. Soon after, an uplifting acoustic riff and harmonica take No Escape out of this swirl into another uplifting tale. The relaxed pace of the first verse is changed up with infectious energy as Melic once again raise the bar and carry you along on their journey. Piano, drums and vocals bring No Escape to another big finish. Cemetery shows Melic at a slightly more thoughtful and reflective space. A piano heavy track, the verse turns into a gently uplifting chorus followed by a subtle step up in sound. Complimented by strings the Cemetery continues to show the variety of sounds Melic bring together across An Hour to Anywhere.

Ever thoughtful Melic even work dessert into their musical feast. Sadly they don’t come in that plastic penguin but still they do the job nicely. One such moment is the interlude Pacific. Rising out of crashing waves Pacific has a dark moody tone as the Melic create a chilled jazz vibe. Sombre piano, crisp drums and a trumpet combine effortlessly to create a growing soundscape that is easy to get lost in. This is nothing like the other dessert option, which is like nothing else on the album. Ting Tong takes you on a journey to a 70’s disco somewhere ruled by flares. Genius hooks and a catchy chorus invade your brain like Spanish Absinthe in the house party punch.

Across the twelve tracks on An Hour to Anywhere Melic show the heights and range of their creativity and skill. Every song is delivered with talent, but no one song sounds like another. Even still Melic manage to create a unique sound for themselves. Other songs that shine bright include Through the Storm with its combination of electric and acoustic guitar and bright chorus, and The Chase which uses an energised acoustic sound to tell the story of an irrepressible guy on the pull.

Rock sounds, pop hooks, versatile vocals, variety and generally thoughtful or uplifting themes make this something to feast your ears on.

David Horn - GIGgle Pics

“We signed in the green room of the famous 100 Club on Oxford Street just hours before taking to the stage,” says Melic frontman Mark Hitchcock, recalling the moment the Kiwi funk rockers inked the deal for their debut album, An Hour To Anywhere.

This marks the next step in the band’s ascent since they first started gigging on the London scene five years ago.

Melic, who open TNT’s 30th birthday party at Koko this month before legend Ash Grunwald headlines, first took to the stages of the capital in 2008 and have found themselves playing iconic venues such as The Borderline and Cargo. In this time, they’ve released three independently recorded EPs, the third being last year’s Nowhere I’d Rather Be. It was a chance gig early last year, however, that put them on the path to their debut album deal.

“We performed at The Garage at the end of April and the label [Beatnik Geek Records] happened to be in the audience scouting for a new act – then we got a call a few days later,” Hitchcock explains of the serendipitous meeting.

Last year’s taste-whetting EP Nowhere I’d Rather Be – the standout titular lead track was a funk-fuelled love letter to their adopted GB homeland – won them new fans and delighted those who’d been addicted since first catching them live. The foursome have prided themselves on two things – their raucous live shows, and their totally-unlike-anything-else sound.

Fusing the diverse talents and musical leanings of the band’s four members – funk rock bassist Steve Hitchcock, metal drummer Andrew Coogan, classically trained pianist and saxophonist Romy Bylin and their rock singer-songwriter frontman, often found in his Brian Johnson-recalling hat (see above left) – theirs is a sound that pulls from many different corners of the musical landscape to create a seamless whole. The varied influences organically unite when the four pick up their instruments together.
The 13 tracks on Anywhere, the first fruits of the Melic- Beatnik union, are set to take their trademark sound one step further, though.
“There’s always a large range of influences apparent in our songs from the disparate musical tastes of Andrew, Steve Romy and I,” Hitchcock says of the Melic sound.
“You’ll hear subtle metal drum fills – if there is such a thing – sneaking in there, Flea-like funk bass riffs, and an array of all sorts from Romy and me in and around the sounds of Dave Matthews Band, Incubus and Pearl Jam.”

“We’ve learned how to best write music together now,” he adds of the way the band have grown and evolved as a unit.
“We know when something is working and similarly when to abandon a track and move on. And over the last few years we’ve been sending each other music to listen to – Andrew now has us all fascinated with British prog-rock band Porcupine Tree; Steve and I introduced the other two to singer-songwriter [Irishman] Glen Hansard, and this has helped develop our sound, bringing us together and finding where the middle ground lies.”
Despite this evolution, the recording of the debut at three separate studios across the capital – “there were some long days and some very late nights!” – proved a test for the band, its confines far from their usual habitat. “Recording is actually a bit of a mongrel,” Hitchcock says.
“It’s just not a very natural thing to play to a metronome and concentrate so hard on being so precise. Whereas it’s awesome getting into a natural groove with the musicians around you on stage, with no constraints.”

Melic’s live drive did spill over into this recording time in the end, despite the ‘clockwork’ routines the studio demands.
“We found that no matter how rehearsed we were or how planned all the parts were, every track changed and came out slightly differently,” the frontman reveals.
Anywhere is slated for an August 5 release, with the band launching it at west London’s Bush Hall on August 1, before then taking the new tunes out to the masses. After all, these guys are not ones to let anything keep them from the road.
“We were performing in Christchurch [recently] and were due in Wellington the next day, but we woke up to a snowstorm – all flights cancelled,” Hitchcock recalls of a particularly fraught gig that called on all the band’s resolve.

“We hired a four-wheel drive for the five-hour road trip northbound through the snow and made our way up the coast, talking our way through road blocks to Blenheim (top of the North Island) where we squeezed into a tiny single-engine plane to cross the strait. It was pretty rock ‘n’ roll.
“There were some pretty bad taste references to La Bamba [the song made famous by Ritchie Valens in 1959 before his death in the plane crash that also killed Buddy Holly] being thrown about as the plane bounced around in the turbulence, but we made it!”
Surviving their brush with danger at several thousand feet hasn’t diluted Melic’s thirst for touring. “We’ll be playing all over the UK [this summer],” Hitchcock says excitedly, w - TNT Magazine

“We signed in the green room of the famous 100 Club on Oxford Street just hours before taking to the stage,” says Melic frontman Mark Hitchcock, recalling the moment the Kiwi funk rockers inked the deal for their debut album, An Hour To Anywhere.

This marks the next step in the band’s ascent since they first started gigging on the London scene five years ago.

Melic, who open TNT’s 30th birthday party at Koko this month before legend Ash Grunwald headlines, first took to the stages of the capital in 2008 and have found themselves playing iconic venues such as The Borderline and Cargo. In this time, they’ve released three independently recorded EPs, the third being last year’s Nowhere I’d Rather Be. It was a chance gig early last year, however, that put them on the path to their debut album deal.

“We performed at The Garage at the end of April and the label [Beatnik Geek Records] happened to be in the audience scouting for a new act – then we got a call a few days later,” Hitchcock explains of the serendipitous meeting.

Last year’s taste-whetting EP Nowhere I’d Rather Be – the standout titular lead track was a funk-fuelled love letter to their adopted GB homeland – won them new fans and delighted those who’d been addicted since first catching them live. The foursome have prided themselves on two things – their raucous live shows, and their totally-unlike-anything-else sound.

Fusing the diverse talents and musical leanings of the band’s four members – funk rock bassist Steve Hitchcock, metal drummer Andrew Coogan, classically trained pianist and saxophonist Romy Bylin and their rock singer-songwriter frontman, often found in his Brian Johnson-recalling hat (see above left) – theirs is a sound that pulls from many different corners of the musical landscape to create a seamless whole. The varied influences organically unite when the four pick up their instruments together.
The 13 tracks on Anywhere, the first fruits of the Melic- Beatnik union, are set to take their trademark sound one step further, though.
“There’s always a large range of influences apparent in our songs from the disparate musical tastes of Andrew, Steve Romy and I,” Hitchcock says of the Melic sound.
“You’ll hear subtle metal drum fills – if there is such a thing – sneaking in there, Flea-like funk bass riffs, and an array of all sorts from Romy and me in and around the sounds of Dave Matthews Band, Incubus and Pearl Jam.”

“We’ve learned how to best write music together now,” he adds of the way the band have grown and evolved as a unit.
“We know when something is working and similarly when to abandon a track and move on. And over the last few years we’ve been sending each other music to listen to – Andrew now has us all fascinated with British prog-rock band Porcupine Tree; Steve and I introduced the other two to singer-songwriter [Irishman] Glen Hansard, and this has helped develop our sound, bringing us together and finding where the middle ground lies.”
Despite this evolution, the recording of the debut at three separate studios across the capital – “there were some long days and some very late nights!” – proved a test for the band, its confines far from their usual habitat. “Recording is actually a bit of a mongrel,” Hitchcock says.
“It’s just not a very natural thing to play to a metronome and concentrate so hard on being so precise. Whereas it’s awesome getting into a natural groove with the musicians around you on stage, with no constraints.”

Melic’s live drive did spill over into this recording time in the end, despite the ‘clockwork’ routines the studio demands.
“We found that no matter how rehearsed we were or how planned all the parts were, every track changed and came out slightly differently,” the frontman reveals.
Anywhere is slated for an August 5 release, with the band launching it at west London’s Bush Hall on August 1, before then taking the new tunes out to the masses. After all, these guys are not ones to let anything keep them from the road.
“We were performing in Christchurch [recently] and were due in Wellington the next day, but we woke up to a snowstorm – all flights cancelled,” Hitchcock recalls of a particularly fraught gig that called on all the band’s resolve.

“We hired a four-wheel drive for the five-hour road trip northbound through the snow and made our way up the coast, talking our way through road blocks to Blenheim (top of the North Island) where we squeezed into a tiny single-engine plane to cross the strait. It was pretty rock ‘n’ roll.
“There were some pretty bad taste references to La Bamba [the song made famous by Ritchie Valens in 1959 before his death in the plane crash that also killed Buddy Holly] being thrown about as the plane bounced around in the turbulence, but we made it!”
Surviving their brush with danger at several thousand feet hasn’t diluted Melic’s thirst for touring. “We’ll be playing all over the UK [this summer],” Hitchcock says excitedly, w - TNT Magazine

Liverpool Sound and Vision Rating 9/10

If ever there was a group of musicians that you found out had played in the city you live in within a few weeks of receiving their debut E.P. from 2012, the decidedly catchy and intolerably superb Nowhere I’d Rather Be, then Melic from London is such a band.

Infectious and full of self-confidence; the music supplied by the rightly titled Melic rolls around the forecourt of an industrial yard in a ten tonne truck, yelling loudly to get out of its way but also blaring its horn and inviting you along for a hair raising adventure and turning up the sound system all the way up. Nowhere I’d Rather Be? The four songs that make up the E.P. surely beg the title of nothing I would rather hear playing in my ears at 4am in the morning. The E.P. is that perfect combination of rock/funk and the slight edge of classical that make them stand out in such a way that is reminiscent to an extent of The 286 or Liverpool’s own The Mono L.P.s.

It is also has the honour of being one of those peculiar albums/E.P.s that you find listening to a few times, concentrating on trying to find even one thing wrong with it to make you question your gut feeling, that impression any fan of music gets when they want to self-doubt the feeling of satisfaction that tingles and tickles away leaving a broad smile in its wake.

Aside from the splendid opening title track, the three remaining songs are no shoddy afterthought; they too hum and play with great aplomb. Followers is a timely song about following your own way and going against the grain and flow of life, whilst Cemetery and Tomorrow We Roll Again both have the quality and musical comprehending of knowing they will be great set additions in years to come.

If ever there was a band to have caught live at The International Pop Overthrow in Liverpool during 2013 then Melic are that band, for now and until or even if they come to Liverpool again, play the E.P. for no other reason that it is so smart and sophisticated it could wear a tuxedo and apply for a job at M.I.5.

Ian D. Hall - Liverpool Sound & Vision

Liverpool Sound and Vision Rating 9/10

If ever there was a group of musicians that you found out had played in the city you live in within a few weeks of receiving their debut E.P. from 2012, the decidedly catchy and intolerably superb Nowhere I’d Rather Be, then Melic from London is such a band.

Infectious and full of self-confidence; the music supplied by the rightly titled Melic rolls around the forecourt of an industrial yard in a ten tonne truck, yelling loudly to get out of its way but also blaring its horn and inviting you along for a hair raising adventure and turning up the sound system all the way up. Nowhere I’d Rather Be? The four songs that make up the E.P. surely beg the title of nothing I would rather hear playing in my ears at 4am in the morning. The E.P. is that perfect combination of rock/funk and the slight edge of classical that make them stand out in such a way that is reminiscent to an extent of The 286 or Liverpool’s own The Mono L.P.s.

It is also has the honour of being one of those peculiar albums/E.P.s that you find listening to a few times, concentrating on trying to find even one thing wrong with it to make you question your gut feeling, that impression any fan of music gets when they want to self-doubt the feeling of satisfaction that tingles and tickles away leaving a broad smile in its wake.

Aside from the splendid opening title track, the three remaining songs are no shoddy afterthought; they too hum and play with great aplomb. Followers is a timely song about following your own way and going against the grain and flow of life, whilst Cemetery and Tomorrow We Roll Again both have the quality and musical comprehending of knowing they will be great set additions in years to come.

If ever there was a band to have caught live at The International Pop Overthrow in Liverpool during 2013 then Melic are that band, for now and until or even if they come to Liverpool again, play the E.P. for no other reason that it is so smart and sophisticated it could wear a tuxedo and apply for a job at M.I.5.

Ian D. Hall - Liverpool Sound & Vision

I’m as big a fan of wonky time signatures, innovation and bands going out of their way to be the next Radiohead/Arcade Fire, by ripping up the laws of music, as the next cardigan wearing muso. But sometimes, and it’s become all too often these days, I want music that isn’t hugely challenging, but is instead just enjoyable and a good laugh. Plus, I look really silly in a cardigan and can’t really get away with calling myself a muso, because the first album I owned was by Hanson and I REALLY liked Busted.

Enter stage right Melic: a four-piece rock band from London whose sound is gloriously simple and yet so funky, it has your body curving and grooving like a serpent in the middle of being charmed. The songwriting on their single ‘Nowhere I’d Rather Be’ is the perfect example of their bluegrassy hippishness. It’s a rock song, with an absolute instant hook, which will stick in your brain as long as that Slush Puppie brain freeze you got yesterday, because IT WAS JUST TOO WARM TO NOT EAT/DRINK IT QUICKLY. Mark Hitchcock’s guitars are soft enough to keep the song grounded, but with that vibrant edge to it, that has the song almost threatening to get a bit heavier.

It is tremendously clichéd to say that songs like the aforementioned are made for summer days like the continuous bout we are experiencing/suffering (delete as applicable) at the moment. But with a cold beer in one hand, a rack of ribs sizzling on your BBQ and your stereo (yes, people still have stereos) on in the background. Well, quite frankly, there’s nowhere I would rather be than listening to this song right now.

‘Nowhere I’d Rather Be’ is one of two singles of a double-A sided release (the other is ‘Folowers’) out now. Melic’s debut album ‘An Hour to Anywhere’ is out on the 5th of August on Beatnik Geek Records. - There Goes The Fear

I’m as big a fan of wonky time signatures, innovation and bands going out of their way to be the next Radiohead/Arcade Fire, by ripping up the laws of music, as the next cardigan wearing muso. But sometimes, and it’s become all too often these days, I want music that isn’t hugely challenging, but is instead just enjoyable and a good laugh. Plus, I look really silly in a cardigan and can’t really get away with calling myself a muso, because the first album I owned was by Hanson and I REALLY liked Busted.

Enter stage right Melic: a four-piece rock band from London whose sound is gloriously simple and yet so funky, it has your body curving and grooving like a serpent in the middle of being charmed. The songwriting on their single ‘Nowhere I’d Rather Be’ is the perfect example of their bluegrassy hippishness. It’s a rock song, with an absolute instant hook, which will stick in your brain as long as that Slush Puppie brain freeze you got yesterday, because IT WAS JUST TOO WARM TO NOT EAT/DRINK IT QUICKLY. Mark Hitchcock’s guitars are soft enough to keep the song grounded, but with that vibrant edge to it, that has the song almost threatening to get a bit heavier.

It is tremendously clichéd to say that songs like the aforementioned are made for summer days like the continuous bout we are experiencing/suffering (delete as applicable) at the moment. But with a cold beer in one hand, a rack of ribs sizzling on your BBQ and your stereo (yes, people still have stereos) on in the background. Well, quite frankly, there’s nowhere I would rather be than listening to this song right now.

‘Nowhere I’d Rather Be’ is one of two singles of a double-A sided release (the other is ‘Folowers’) out now. Melic’s debut album ‘An Hour to Anywhere’ is out on the 5th of August on Beatnik Geek Records. - There Goes The Fear

The hottest day of the year is hardly an ideal time to be seeking out new vaults in the cavernous network of thick-walled Victorian venues that appear en masse across the geography of London’s venue scene. Throw in 350 impassioned fans – dancing and throwing hands skyward – and you’ve ignited the furnace. But, it was worth every baking moment to witness the launch of Melic’s debut album, ‘An Hour to Anywhere’, under the ornate plasterwork and sparkling chandeliers of west London’s Bush Hall.

A unique foursome from the far away peaks of New Zealand, Melic have been intriguing fans and critics across the capital with their singular fusion of influences since 2008. And, emerging from a turquoise fog of wandering bass lines and ambient synth, their latest single ‘Nowhere I’d Rather Be’ (originally released in February 2012) was immediate evidence that their years playing the London circuit have enabled them to forge a live show dripping in energy and invention. Driven by powerful chords from singer and guitarist Mark Hitchcock, twinned with the now ominous synth lines of Romy Bylin, it builds into a hook-laden barnstormer that has the crowd in raptures.

It was then in to ‘Better Off Before’, a song with a feel of catharsis to match the vindication of a debut album launch; it has an air of stadium grungers Pearl Jam sanitised by mellow digital chords, with an epic guitar solo to boot. ‘He Was a Fighter’ was the strongest signal yet of the band’s versatility, drawing together a driving acoustic intro, a vocal style with elements of Jimmy Eat World and Chris Cornell’s Soundgarden, and a smooth sax line that somehow epitomises a cosmopolitan skyline.

There was an air of folk era Bob Dylan as the tousle-haired Hitchcock donned a harmonica frame for the intro of ‘No Escape’. Drummer Andrew Coogan laid down a techy beat mildly akin to Radiohead’s ‘Lotus Flower’ which added a fresh angle, and the song built in waves of haunting sounds. The first of what Hitchcock would later aptly describe as a “Melic Moment”: a funk-laden bass interlude from the former’s brother Steve Hitchcock – drifted into the more ethereal ‘Inhaling Butterflies’, before ‘Followers’ introduced a chorus infectious enough to rival their opening track. ‘Cemetery’ was a carefully constructed moment of melancholic magic, whilst two numbers that unfortunately failed to make the cut on the album, ‘Double Drum’ and ‘Downward Spiral’, went a long way towards enhancing Melic’s credentials as an anthemic, big venue band.

On the subject of things missing, set list absentee ‘Pacific’ (a short trumpet orientated interlude that ties the album together in much the same way as ‘Pretty Little Ditty’ on Red Hot Chili Peppers’ ‘Mother’s Milk’) is one track off the new album that’s well worth a listen. A neat call-and-response between the sax and trumpet with a pulsating bass line entitled ‘Raspberry Jam’ was a second “Melic Moment”, and most likely a contributing factor to the aforementioned absence, ensuring the set does not sail too far into the uncharted waters of the jam.

There was visceral disappointment amongst the crowd as Hitchcock announces that ‘The Chase’ – with a touch of gypsy punk in its gradually quickening acoustic intro and “um-pa” rhythm – would be the final track of the night. But, this energy was turned in moments to action as the entire crowd boils into a writhing mass of dancing figurines.

Their protestations afterwards were relentless, but did not fall on deaf ears as Melic returned for an encore of old fan favourite ‘Ting Tong’. Despite the strictly disco rhythm, an element of Gogol Bordello-style anarchy remained in this last offering. And, as the band passed around lead duties whilst thanking the assembled faithful, it was easy to see how such loyalty was inspired as to raise the roof and the mercury on such a sweltering summer’s eve.

They played out on Fleetwood Mac’s immortal ‘The Chain’, which seemed to draw an appropriate rock analogy between two bands who – despite an admittedly wide range of disparate influences – blend into a sum far greater than their individual parts.

Melic’s debut album ‘An Hour to Anywhere’ is out now on Beatnik Geek Records. - There Goes The Fear

The hottest day of the year is hardly an ideal time to be seeking out new vaults in the cavernous network of thick-walled Victorian venues that appear en masse across the geography of London’s venue scene. Throw in 350 impassioned fans – dancing and throwing hands skyward – and you’ve ignited the furnace. But, it was worth every baking moment to witness the launch of Melic’s debut album, ‘An Hour to Anywhere’, under the ornate plasterwork and sparkling chandeliers of west London’s Bush Hall.

A unique foursome from the far away peaks of New Zealand, Melic have been intriguing fans and critics across the capital with their singular fusion of influences since 2008. And, emerging from a turquoise fog of wandering bass lines and ambient synth, their latest single ‘Nowhere I’d Rather Be’ (originally released in February 2012) was immediate evidence that their years playing the London circuit have enabled them to forge a live show dripping in energy and invention. Driven by powerful chords from singer and guitarist Mark Hitchcock, twinned with the now ominous synth lines of Romy Bylin, it builds into a hook-laden barnstormer that has the crowd in raptures.

It was then in to ‘Better Off Before’, a song with a feel of catharsis to match the vindication of a debut album launch; it has an air of stadium grungers Pearl Jam sanitised by mellow digital chords, with an epic guitar solo to boot. ‘He Was a Fighter’ was the strongest signal yet of the band’s versatility, drawing together a driving acoustic intro, a vocal style with elements of Jimmy Eat World and Chris Cornell’s Soundgarden, and a smooth sax line that somehow epitomises a cosmopolitan skyline.

There was an air of folk era Bob Dylan as the tousle-haired Hitchcock donned a harmonica frame for the intro of ‘No Escape’. Drummer Andrew Coogan laid down a techy beat mildly akin to Radiohead’s ‘Lotus Flower’ which added a fresh angle, and the song built in waves of haunting sounds. The first of what Hitchcock would later aptly describe as a “Melic Moment”: a funk-laden bass interlude from the former’s brother Steve Hitchcock – drifted into the more ethereal ‘Inhaling Butterflies’, before ‘Followers’ introduced a chorus infectious enough to rival their opening track. ‘Cemetery’ was a carefully constructed moment of melancholic magic, whilst two numbers that unfortunately failed to make the cut on the album, ‘Double Drum’ and ‘Downward Spiral’, went a long way towards enhancing Melic’s credentials as an anthemic, big venue band.

On the subject of things missing, set list absentee ‘Pacific’ (a short trumpet orientated interlude that ties the album together in much the same way as ‘Pretty Little Ditty’ on Red Hot Chili Peppers’ ‘Mother’s Milk’) is one track off the new album that’s well worth a listen. A neat call-and-response between the sax and trumpet with a pulsating bass line entitled ‘Raspberry Jam’ was a second “Melic Moment”, and most likely a contributing factor to the aforementioned absence, ensuring the set does not sail too far into the uncharted waters of the jam.

There was visceral disappointment amongst the crowd as Hitchcock announces that ‘The Chase’ – with a touch of gypsy punk in its gradually quickening acoustic intro and “um-pa” rhythm – would be the final track of the night. But, this energy was turned in moments to action as the entire crowd boils into a writhing mass of dancing figurines.

Their protestations afterwards were relentless, but did not fall on deaf ears as Melic returned for an encore of old fan favourite ‘Ting Tong’. Despite the strictly disco rhythm, an element of Gogol Bordello-style anarchy remained in this last offering. And, as the band passed around lead duties whilst thanking the assembled faithful, it was easy to see how such loyalty was inspired as to raise the roof and the mercury on such a sweltering summer’s eve.

They played out on Fleetwood Mac’s immortal ‘The Chain’, which seemed to draw an appropriate rock analogy between two bands who – despite an admittedly wide range of disparate influences – blend into a sum far greater than their individual parts.

Melic’s debut album ‘An Hour to Anywhere’ is out now on Beatnik Geek Records. - There Goes The Fear

It’s easy to see why London based Kiwi rockers, Melic have opted 'Nowhere I’d Rather Be' for their first single off their upcoming third EP, also named 'Nowhere I’d Rather Be'. The first thing that catches your attention is the simple but infectious soft hook, laden with melody, that gives way to some catchy strong vocals, from vocalist and guitarist, Mark Hitchcock. It’s instant head nodding stuff that cements their craft as a band and also their musical influences.

The second track, 'Followers' has a very bassy intro, with a nod to their funk roots and a strong kiwi summer vibe which draws you in. A really nice chilled out number with a surprising edge in change of tempo mid-way through with a neat guitar solo for good measure, guaranteed to keep your toe tapping.

'Cemetery' is up next, and probably the softest song on the EP, with acoustic and piano accompaniment embellishing Mark’s beautiful vocals.

To round everything off, the last track, 'Tomorrow We Roll' is a definite favourite, with a rock n roll, bluesy jam type number, with a very jazzy feel to it, that just makes you marvel at how polished it all comes together and works in such a unique way.

Exciting things to come for these guys, watch this space! - Muzic.net.nz

It’s easy to see why London based Kiwi rockers, Melic have opted 'Nowhere I’d Rather Be' for their first single off their upcoming third EP, also named 'Nowhere I’d Rather Be'. The first thing that catches your attention is the simple but infectious soft hook, laden with melody, that gives way to some catchy strong vocals, from vocalist and guitarist, Mark Hitchcock. It’s instant head nodding stuff that cements their craft as a band and also their musical influences.

The second track, 'Followers' has a very bassy intro, with a nod to their funk roots and a strong kiwi summer vibe which draws you in. A really nice chilled out number with a surprising edge in change of tempo mid-way through with a neat guitar solo for good measure, guaranteed to keep your toe tapping.

'Cemetery' is up next, and probably the softest song on the EP, with acoustic and piano accompaniment embellishing Mark’s beautiful vocals.

To round everything off, the last track, 'Tomorrow We Roll' is a definite favourite, with a rock n roll, bluesy jam type number, with a very jazzy feel to it, that just makes you marvel at how polished it all comes together and works in such a unique way.

Exciting things to come for these guys, watch this space! - Muzic.net.nz

Melic, the four-piece rock band based in London, are undoubtedly talented musicians. Their first five song ep found the long-searched for middle ground between the Red Hot Chili Peppers and Incubus and sounded solid enough. This new four track EP, The Coal Pit Sessions, however is a completely different kettle of fish and is nothing short of superb. The four tracks, display these musicians at their best and the songs are distinctly their own. Melic meld together sax and keys alongside the standard guitar, bass, drums producing a unique sound.

The Start of opener ‘A Hundred Mondays’ is lead by a solitary piano which then progresses into a riff reminiscent of the first wave of AOR bands. Once the track actually kicks in, it is clear where the band are heading. ‘A Hundred Mondays’ sounds like The Eagles jamming Incubus tracks. Dirty rock riffs, backed by smooth piano and awesome soft drumming. Vocalist Mark’s powerful voice is a brilliant compliment throughout, although there are a few choice moments where the higher notes sound out of place, this is largely inconsequential. The track finishes in a punk rock flurry, at an almost manic tempo. The southern vibe hinted at in the first track is taken on in it’s glory in ‘Ballad Of A Cowboy’. It’s a much slower track infused with sax throughout, which adds to the summer evening feel of the song. The instrumentation is similar to Gomez, but again Melic find a unique sound of their own. I have never camped in the Nevada Desert, but I’d imagine it’s this kind of music that would accompany a film about it!

‘Die Trying’ follows on perfectly, starting with a bass solo, the track doesn’t take the path you would expect. The welcome addition of female backing vocals and the intricate guitar parts serve to really make the track stand out from its predecessors. That said, however good ‘Die Trying’ is, it is nothing compared to closer ‘The Chase’. It starts with the kind of picked guitar that you would expect from a Power Ballad, but then like so much of Melic’s music it goes in a completely unpredictable direction. The entrance of sax and drums create an almost mariachi rhythm. The chorus-like ‘Chasing After You’ refrain entices the listener to join in and the story-telling element of the lyrics puts the tune into vague Counting Crows territory. It is a great song and the undisputed highlight of the EP.

It’s hard to find comparisons for Melic’s sound throughout this EP, but what is clear is that the sound they achieve is one they intended to. The mixed up almagamation of sounds that works so well is intricately planned and thought out. Some may say that this is the sound of a band that can’t settle on what it wants to be, but with Melic this isn’t the case. Each member of the band clearly possesses the ability to play any number of genres and so why not demonstarte this in your music. The Coal Pit Sessions is the sound of a band comfortable in their identity and confident in their ability, it will be interesting to hear what this exciting band produce next.

5 out of 5

www.melicband.com - Aim Low Press

The law of averages says that by the time a band puts out its third release, the quality should start to level out or even drop away. London-based four piece Melic seem set to prove that theory utterly and completely wrong. The ‘Nowhere I’d Rather Be’ EP is the third release by the band, and also happens to be their best work to date. The EP picks up where the last finishes and the band’s sound continues to evolve at an unbelievably rapid rate. There were very few rough edges on ‘The Coal Pit Sessions’ , but even those tiny impurities have been rubbed out on this release.

Melic have, over the space of a year, developed a sound that is comfortably their own, but where uniqueness for some bands leads to isolation, with Melic their individuality is the soul of their appeal. The EP begins with the lead single, which is an infectious slice of contemporary rock music. The song oozes melody and makes for a perfect single. Lead by a flowing bass line and bluesy guitars, the subtle key work and drumming melds together to make for a rocking anthem. When vocalist Mark sings the refrain “It’s good to have you here, at this moment in time” it’s like a rope that lures you into the song. ‘Nowhere I’d Rather Be’ is guaranteed to have you singing along within seconds. The same can be said for second track ‘Followers’, which is again blessed with plenty of melody and a ridiculously catchy chorus, not to mention a brilliant guitar solo that harks back to the southern vibe of their previous EP.

The tempo is reigned in for third track ‘Cemetery’, which features a more prominent key section and has a much more laid back vibe to it. That doesn’t mean however that it is less catchy or that it is an uninteresting song in anyway. The track has an equally massive chorus as well as some memorable piano parts that engrave themselves in your head. As with all of Melic’s output it’s intricately crafted, with every instrument playing their role in creating a masterpiece. Closing the EP with the awesome ‘Tomorrow We Roll Again’ was a shrewd move. It’s quite different from the other tracks on the album, yet it doesn’t sound remotely out of place. Starting with a classic guitar riff, the band channel the spirit of the big rock tracks of the 70’s, with a lick of a reggae vibe midway through. The track contains another barnstormer of a chorus, which builds up to the “Tomorrow we roll again” line brilliantly. The song also marks the welcome return of the saxophone, something that was laced throughout the previous EP, and works so well again here.

As said previously, Melic really is a band of true musicians, and as they continue to gel, the outcome is increasingly more fantastic. ‘Nowhere I’d Rather Be’ is the sound of a band scaling new heights in song writing and saleability, while maintaining their high standard of musicianship. Melic are proving that you don’t need to dumb things down to write catchy rock songs. There are plenty of clichés that could be thrown in about Melic’s rosy future, but I’m just going to leave at this. Surely big things are in store for this band.

‘Nowhere I’d Rather Be’ by Melic is available now through the band.

www.melicband.com - Aim Low Press

The law of averages says that by the time a band puts out its third release, the quality should start to level out or even drop away. London-based four piece Melic seem set to prove that theory utterly and completely wrong. The ‘Nowhere I’d Rather Be’ EP is the third release by the band, and also happens to be their best work to date. The EP picks up where the last finishes and the band’s sound continues to evolve at an unbelievably rapid rate. There were very few rough edges on ‘The Coal Pit Sessions’ , but even those tiny impurities have been rubbed out on this release.

Melic have, over the space of a year, developed a sound that is comfortably their own, but where uniqueness for some bands leads to isolation, with Melic their individuality is the soul of their appeal. The EP begins with the lead single, which is an infectious slice of contemporary rock music. The song oozes melody and makes for a perfect single. Lead by a flowing bass line and bluesy guitars, the subtle key work and drumming melds together to make for a rocking anthem. When vocalist Mark sings the refrain “It’s good to have you here, at this moment in time” it’s like a rope that lures you into the song. ‘Nowhere I’d Rather Be’ is guaranteed to have you singing along within seconds. The same can be said for second track ‘Followers’, which is again blessed with plenty of melody and a ridiculously catchy chorus, not to mention a brilliant guitar solo that harks back to the southern vibe of their previous EP.

The tempo is reigned in for third track ‘Cemetery’, which features a more prominent key section and has a much more laid back vibe to it. That doesn’t mean however that it is less catchy or that it is an uninteresting song in anyway. The track has an equally massive chorus as well as some memorable piano parts that engrave themselves in your head. As with all of Melic’s output it’s intricately crafted, with every instrument playing their role in creating a masterpiece. Closing the EP with the awesome ‘Tomorrow We Roll Again’ was a shrewd move. It’s quite different from the other tracks on the album, yet it doesn’t sound remotely out of place. Starting with a classic guitar riff, the band channel the spirit of the big rock tracks of the 70’s, with a lick of a reggae vibe midway through. The track contains another barnstormer of a chorus, which builds up to the “Tomorrow we roll again” line brilliantly. The song also marks the welcome return of the saxophone, something that was laced throughout the previous EP, and works so well again here.

As said previously, Melic really is a band of true musicians, and as they continue to gel, the outcome is increasingly more fantastic. ‘Nowhere I’d Rather Be’ is the sound of a band scaling new heights in song writing and saleability, while maintaining their high standard of musicianship. Melic are proving that you don’t need to dumb things down to write catchy rock songs. There are plenty of clichés that could be thrown in about Melic’s rosy future, but I’m just going to leave at this. Surely big things are in store for this band.

‘Nowhere I’d Rather Be’ by Melic is available now through the band.

www.melicband.com - Aim Low Press