A ceremonial band of brothers (and sister), whom have an interesting range of influences. Ash, Weezer, Pixies and Pavement are in there: a lot of ’80s and ’90s influences, as well as late-’90s-modern-day folk such as Queens of the Stone Age. The band have gained a reputable following and a native regard. They have been pioneering a loud-quiet dynamic: Pixie-esque, as well as crafting sharp melodies: Ash spring to mind. It is the band’s skill for blending these facets, together with a stream-of-consciousness vocal ambition, that creates a variable and striking business plan. As well as melody, there is a great deal of exciting noise; this combination, combined with male and female (lead) vocals, elicits an almost-Grunge/Punk splendor: rarely attempted in the 21st century. Aside from their gold credentials and strong war-chest of heroes and influences, the group are staunch tourers: bringing their songs as far and wide as possible. Their on-line following is growing, and attention is starting to mount. In a country, where there are comparatively few new acts making their presence known as far south as London, Universal Thee are part of a small crop that should be on the lips of NME and The Guardian alike. It is bands like Universal Thee: little-known to many in London, whom are examples of what the U.K. has to offer, in the way of diverse, and unique music.
I hope Universal Thee get a lot more future credit. There are few bands whom have an authoritative gentle side to their nature; the default setting is to lean towards heavier and spikier sounds. Their music is imbued with warmer colours, and although they have got enough kick and spark in other songs, it is refreshing that they do not disguise or supplement sensitivity and warmth, with something less sincere. Scotland is home to a parliament of diverse and fascinating players, all of whom- from my experience- have likeable and great personalities too: no pretencion, only modesty and a great appreciation with regards to having their sounds promoted.