Bywater Call-Bywater Call

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Toronto band Bywater Call are steeped in southern soul, blues and roots music, delivered with style and passion. The band are songster Meghan Parnell, guitarist Dave Barnes, drummer Bruce McCarthy, bassist Nike Neusel and keyboard player. Forming the bad in 2017, horns were added in 2018, with Stephen Dyte on trumpet and sax in the hands of Julian Nalli.

The band has grown rapidly in status, headlining numerous blues and jazz festivals across North America, and significantly for us, this side of the Atlantic, they are touring Europe early in 2020, through 9 countries over a 45 day period.

This, their first album, is self titled, and opens up with ‘Arizona’, and sparse guitar and keyboards, mathematically bringing to my mind the haunting soundtrack of Paris Texas and Ry Cooder, but that’s just a front, because its soon bursts into a hard driving soul infused southern rock, with  layers of horns and choral backdrop, Meghan’s voice stands out, in this infectious opener. We slip into a peppy, strutting, ‘Forgive’, that pulls you back to the early years of soul.

If I thought the first few bars were haunting, then I need to rethink as the gorgeous bluesy, ‘Bring Me Down’, eases in with dark honeyed slide and keyboards paint the scene Meghan’s slow moody vocals. A song that oozes class, and  for me is the outstanding track on this album.

The lovely southern soul of, ‘Nightmare’ floats by on a cloud of horns, with a nice touch of Dave’s guitar, slipping in for a quickie.

‘Over and Over’, has shades of Shaft’s cropped squawking guitar, and powerful vocals that would not disgrace Aretha in her halcyon days, driving forward on the throbbing rhythm. It contrasts with the country blues of the slow swing of ‘HomeTown’. Its a beautiful bit of blues, riding the roads on a bed of horns.

Keyboards deliver the opening bars of power ballad, ‘Walk On By’, Meghan gives it full throttle, with Dave dropping in a bit of enigmatic guitar, as she readies herself for the big finish. An absolute cracker and another classic in the making.

The 10 track album closes on an irresistible ‘Swing Low’, which is an apt description, as it, as it flows along a steady swell, with some superb piano sprinkling a shower of notes over the ebbing waters.

There’s much to like about this album, plenty of variety from the bands influences, and as indicated, some truly superb songs that are sure to find the repeat button under your finger tip. If this is an indicator of what Bywater Call are going to be bringing to us on tour, then I can only say, look for a venue in reach, and get yourself booked.

A very nice, well produced album with fine songs and musicianship, well worth seeking out.


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Track listing;

Arizona

Forgive

Bring Me Down

Nightmare

Over And Over

Hometown

Silver Lining

Walk On By

Swing Low


available on Gypsy Soul Records

Words Graham Munn

Samantha Martin & Delta Sugar-Run To Me

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Samantha Martin & Delta Sugar’s, ‘Run To Me’, explores the broad spectrum of life’s temptations, love, desire, and betrayal, at times full of emotion and sexual overtones. So, what’s not to like, in truth, nothing at all, the album explores those human weaknesses (or strengths) in a soulful soup of tasty songs.

The bands debut release, ‘Send The Nightingale’, was a stripped down effort, with Samantha, Martin, Sherie, Stacie, and guitarist Mikey McCullum. For this new release, the band is expanded to include a full rhythm section, piano, organ and a horn section, adding to that big soul sound. The songs are full of emotion and smouldering passions, with gospel influenced songs powering through, this was destined to be difficult to extract the songs that demand attention. The whole bloody album is outstanding, and Its not often you find every track worthy of comment, its like being offered a box of chocolates, that are full of your irresistible favourites. Much of this is down to Samantha’s fabulous voice, backed by Sherie and Stacie adding essential harmonies.

Track 1, and the explosive soul of, ‘Your The Love’, leaps out and smites you, with its rock edged attack, and Samantha’s cutting vocals. ‘Gonna Find It’, sweeps in with its soul drenched horn backing, big bold and beautiful, is followed by the slow smouldering, ‘Will We Ever Learn’. The song titles are a point to point coarse of emotions, a testing ride, that Martin takes by the scruff of the neck.

The gorgeous, rich, bluesy, ‘Wanna Be Your Lover’, ebbs out, soft and warm, perfect to wrap yourself in. The blue stream flows forward through the lovely, ‘Chasing Dreams’, Sherie and Stacey, adding harmonic weight to the keyboard and horn blown music.

Time to step up the tempo, with R&B makeover, looking for, ‘Good Trouble’, just reach for your dancing shoes and get moving. ‘Over You’ drives the soul North, admittedly not my favourite direction, despite its adherents, its never really found the mark in my ears. Eaing that trajectory a tad, finds the more comfortable melody of, ‘This Night Is Mine’.

Brace yourself for the classic big tearjerker, bluesy soul of a luscious, ‘Only So Much’, simply fabulous. The final song is an absolute cracker, the soul of Etta James, the rock of Little Eva, and the big retro sound found in Nick Waterhouse’s brand of west coast soul.

In summary, Run To Me is superbly polished, glittering album, dripping with impassioned soul, impossible not to love, no matter your musical allegiance. A no brainer, just get it.

Samantha Martin and The Delta Sugars will be touring the UK and Europe in 2020, well worth finding a gig, you’ll be hooked.


Words Graham Munn

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Peter With Rosie-Nine Lessons: A Christmas Album

The weather has taken a turn, the heating is on and I’m tucked up with a glass of port (well red wine actually, but close enough!) so it would seem somewhat apt to turn my attention to the seasonal return of Pete (Adams) and Rosie (Green). Following on from the remarkable success of Christmas In The Market Towns, the duo have returned to the studio to conjure a second festive songbook, entitled Nine Lessons, a ten-track, midwinter affair that’s interspersed with readings taken from the traditional Nine Lessons service (read by Ann Head, Rose’s mum!).

Similar to the duo’s previous seasonal tome, this sees a very different Adams from the one that’s been seen recently fronting the likes of  Hey You Guys and Evilwitch, electric guitars are set to minimal as Pete, strips everything back to deliver to a folky and at times sparse collection. In fact so much so that the opening track, the one minute, Processional, sets the mood with a lone church organ, playing out a brief introduction, before Ann reads out the first of her stately lessons.  

Woods Of Winter continues the mood, as a bewitching Rosie lead vocal is backed by an understated plucked acoustic and the natural sounds of the track’s title, Pete’s voice can be heard wordlessly harmonising with that of his wife, as the couple deliver a mesmeric and becalming two minute folk lament, hooking the listener in. Wake follows lesson two and captures that jovial mood when the house awakens on Christmas morning, half harmonies capturing the rush to window to see if any snow has fallen over night, a playful melody soundtracks the excitement of an expectant family as they gather together in the sitting room and as the two minutes play out we’re left with the warm hum of conversation, echoing homes across the globe.

Telescope sees a melancholic and weary Adams, gazing at the wider world, contemplating the bigger picture and attempting to predict when ‘peace will come for all man kind’. Again subtly backed, Pete’s vocals create a vivid picture and you almost feel like you’re there, taking in the enormity of life and it’s consequences with our thought provoking narrator.

As the album continues Rosie takes over the reins for the gorgeous and aptly named Lullaby, delicately emoting over a child friendly melody, her coos capable of lulling the most savage of temper tantrums, rather suggest that this one should be available on the NHS!! And Rosie continues  to lead on the equally enchanting, The Long Crendon Church Window, accompanied once more with the folky plucks of acoustic. Following a handful of further readings and a near acapella Pete  (The Worcestershire Carol), the duo take turns round the mic on a relatively straight rendition of We Three Kings (bar a treated vocal or two), before upbeat marching drums and complimentary harmonies see Pete and Rosie conclude proceedings with a run at Joy To The World.

The seemingly annual festive albums by Pete and Rosie are a joy to behold, their original take on the holiday season, sees the duo uphold traditional values whilst still managing to offer a very unique spin on things, the family feel of sitting round the fire singing along to songs of praise is further enhanced by the readings of Ann Head, whilst the likes of Winter Wood and Lullaby could easily become seasonal standards in their own right. I recommend you grabbing a copy of Nine Lessons for when you decorate your tree and toast the silly season with a glass of the good stuff.

Nine Lessons: A Christmas Album is Available from Monday 2nd December via iTunes,  Amazon, Spotify and all good streaming sites.

Source: Spotify

Mat Partridge-Destroying Is Easy

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Destroying Is Easy is the second solo album by West Midlands based, singer/songwriter and former Soley Mourning frontman, Mat Partridge, following on from this 2016 release of Parts Per Million. Much like his debut, Destroying Is Easy continues to see Partridge, sonically move away from the alternative rock sound of his former band and explore new avenues, adding a soul, funk, jazz and even a Latin element to his palette, creating a varied yet always infectious disc that should see Partridge build on the successes of his debut.

Kicking off the ten-track affair with the album’s title track, Mat opens the album with something of a dark brooding number, a sustained keyboard note sets the tone before layers of drums and a repetitive chant of ‘build it up’ join the mix along with a tinkered piano and dramatic chords, as Partridge lays down a stunning soulful rock vocal warning the listener that 'It takes thought, takes everything you got’ to (re)build a life but as the title suggests 'destroying is easy’. It’s an engaging listen from the off, it’s a dark, yet somehow seductive number that draws the listener in and holds the attention, a feet maintained throughout the discs duration.

Despite the addition of a Hammond organ, a brass section and a gorgeous funk licked soulful lead, After The Lord Mayor’s Show, lyrically continues to look in the shadows, as Partridge takes a very real look at gun crime and the ease of accessibility of firearms despite the fact we 'read the same headlines’. Both lyrically and musically the track compels, on one hand you have these bursts of brass, a short swaggering guitar solo and Mat’s gorgeous lead and on the other you have lines such as 'no leader has the balls to ever change the laws’, as our protagonist proves that social commentary can be both punchy and infectious.

As the album continues Partridge shows his diversity, Another Girl (Better Time) is a three and a half minute slice of funk pop nirvana, with it’s choppy guitars and insanely addictive choral pay-off.     Copies is an urgent sound-clash of rock, soul and perhaps even R&B with Mat telling us to stand on our two feet and 'don’t get boxed and put away by society, cos society will try to label ya from your sexuality race class and gender’, whilst despite talk of battling addiction, Rezzo is musically, a gloriously unashamed, hook-laden Latin fused, pop number.

Elsewhere we’re served up piano-led pop on I Just Wanna Be Accepted and a dose of wah-wah guitar and a warm soulful croon on Under  The Pseudonym Of, before Partridge brings the album to a close with the mesmeric bass and keys propelled soul of The Fleetingness Of Time, leaving with one final soaring, emotive lead vocal and a searching guitar solo that will entice listeners back time and again.

Destroying Is Easy is a rich, varied and rewarding listen, proving Mat Partridge can turn his hand and indeed pen to anything, forget your pre-conceptions of the singer-songwriter, troubadour, strumming alone, down your local, this album is big, bold and beautiful and deserves to be heard.

www.facebook.com/matpartridgeofficial

Raptor-Escapism

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Following a bout of live dates and the release of their debut mini-album, psych-rockers, Raptor unveil the title track, Escapism as their latest single. The near six minute track is a suitably woozy affair, that sees the band channel the early days of Pink Floyd. Sgt Peppers Lonely Hearts Club Band and the fuzz and stomp of Sabbath as the band take all the best bits of the late sixties, stir them up and add some secret Raptor seasoning to create a lurching, infectious psychedelic masterpiece.

In a bid to capture the essence of Escapism and indeed Raptor, the trio have teamed up with Australia’s FUZZWAH (who’s collaborated with the likes of Thee Oh Sees, Pipe-Eye and Frankie And The Witch Fingers among others) to piece together a suitably ‘out there’ visual extravaganza. Filming in infa-red and using a toy fisheye lens, along with FUZZWAH’s lo-fi analog effects, the band have created something of a hazy, psychedelic purple wonderland, complete with obligatory fuzz as frontman, Kurt Fletcher steps on the power.

The woozy, retro visuals compliment the band’s sound perfectly and deserve as many plaudits as the track itself, if you’ve not yet delved into the fuzz and groove world of Raptor, may I suggest you seek a little 'Escapism’, this is one trip you’re not going to want to miss.

www.facebook.com/Raptortheband

Nuns Of The Tundra-Sign In Blood

https://youtu.be/8nu4-JaJuhg

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After a brief sabbatical, a line-up change, a baby and a dose of writing, everyone’s favourite alternative fuzz rockers, Nuns Of The Tundra, swaggered back into view, storming St Swithurns Institute during Worcester Music Festival, a packed out venue paid witness to a return equivalent to the second coming as the band rose again with a flurry of those thick riffs and bombarding drums we’ve become accustomed to, as the band proved one of the hottest tickets in town (which is no mean feet with so many acts to chose from!!).

One of the main reasons why music fans are so enamoured with the Nuns’ is the band have formed a sound very much of their own making, sure there are a few noticeable influences lurking with the band’s genetic make-up but few acts have managed to ride the divide between power and groove, between infectious and fuzzy quite like the ‘Tundra. From the early days of Robot Love through the Minds Eye, Pray 4 U Slay For U and onto Baby’s Got A Box Of Matches, the band (have always) hit you like a ton of bricks, an instant distorted throb here, a thunderous barrage of drums there, an infectious psych-fueled melody, a choral hook that could ground the royal navy and then there’s that ever-present groove that lingers long after the track fades or the band’s put down their instruments, nagging and willing you to take another listen or to cry out for one more song.

Nuns Of The Tundra’s brand new single, Sign In Blood sees the band continue that rich trend, opening with a howl of feedback, the band settle to lay down a wonderfully off-kilter psychedelic melody, complimented by stop-start tapped drums, before stepping on the gas and delivering a trademark Tundra thick and fuzzy groove, whilst Tittley delivers a magnetic and melodic lead vocal, sucking the listener further through the vortex. Instrumentation drops in and out of the mix, at one point we’re left with the tapped out rhythm, the next a driving bass propels us on. Somewhere around the three minute mark, another twist in direction, as a barrage of drums and flurry of stoned riffs up the ante, whilst the unexpected addition of what sounds like a theremin, adds yet another layer to the potent psych freak-out as Sign In Blood woozily swaggers towards it’s close.

We may have been waiting a few months for the return of the Nuns’ but their performance at WMF, followed by the release of Sign In Blood, suggest the band have been far from resting on their laurels, on the evidence gathered so far, you can expect a big year ahead for Nuns Of The Tundra, so strap in and enjoy the ride.


Uncover Presents The Wave Pictures/Skewwhiff Live @ The Marrs Bar


There are certain promoters that if you see their name attached you can guarantee a good night out and here in Worcester we’ve blessed with a couple of said teams, with, in recent times, Uncover leading the way. Now like all good promoters they often put on new acts I have to research, names that may not be too familiar, but from time to time they manage to pull a name that has me literally punching the air with excitement and that was just the case when they announced cult faves The Wave Pictures, a band I’ve long admired that I’d get to have seen live and now the trio were coming to Worcester, thanks to Uncover.

Leading upto the night I brushed up on the ‘Pictures numerous albums to date putting together an imaginary setlist (yes I really can be that fanatical when it comes to music), almost willing the band to play a he likes of Long Black Cars, Spaghetti and Sleep Just Like A Drummer, so you should have seen me beaming from ear to ear when the trio played each one, but then looking around The Marrs Bar it wasn’t just me grinning like a loon or singing-a-long, the entire room was lapping every nuance, marvelling at the rhythm section of Franc Rozycki and Jonny Helm taking their turn in the spotlight, hanging off every guitar hook and solo from Dave Tattersall. Knowing glances confirmed that we weren’t just at a gig, we were witnessing one of those special nights, one of those 'you really should have seen…’ gigs that we music geeks talk about in revered tones months (maybe even years, we music fans all do it!) later.

Ok so how do I explain it? The Wave Pictures are a quirky, mesmeric oddity, they move between genres with Grace and ease, there’s a bit of indie, some rock 'n’ roll, a touch of blues, unexpected afro beat drums, etc, then there’s the quirky lyrics (who else name drops Thin Lizzy’s seminal Live And Dangerous mid song?), the choral hooks, bass and drum solos that actually enhance the experience rather than giving the frontman time to rest. I could go on waxing lyrical the merits of The Wave Pictures, but if you were there you don’t need me to waffle on and if you weren’t well…..

There’s been a good few column inches written on Skewwhiff (checkout the recent coverage in Slap Mag) in recent times so I won’t repeat what’s already been written, but rather just echo the sentiments, armed with their long awaited new album, Cancelled Rearranged, the band have returned with a new arsenal of punky new wave anthems, from the driving dirty bass of Oh No to the urgency of Doll Parts and the choppy guitars of Over And Out, Skewwhiff sound better than ever.

So to sum up (and I apologise if this reads rather more like a gushing, love letter than a live review and perhaps I should have waited until I’d calmed down a bit to scrawl), The Wave Pictures live at The Marrs, local gig of the year? Quite possibly. Keep an eye out for the next Uncover night you never who they might bring along next time round, whether it’s a name you recognise or someone new, satisfaction is guaranteed.

THEODOR BLACK Theodor Black releases double a-side ‘Slow Burns’ and ‘Anxiety’

Theodor Black - ‘Slow Burns’ / 'Anxiety’
Spotify

“woozy, blue-tinged ambient hip hop” Noisey

“Lose yourself in the woozy depths of Theodor Black’s poetic lyricism” The Line of Best Fit

“the rising London artist is able to encapsulate a richly textured sonic world that manages to feel both sparing and full of nuance; it’s jazzy and funky and eerie and affecting all at once.” Highsnobiety

Theodor Black rounds of the year with his final release, a double a-side consisting of the tracks ‘Slow Burns’ and ‘Anxiety’.

The South London based artist is being hailed as the next creative force in the capital’s alternative scene. DIY up to the last detail, his self-produced sounds dip between smoky, late-night rap and more upbeat guitar-led work, studded with his poetic, introspective vocal.

Arriving onto the scene as part of South East London collective Reservoir, he traces the path of artists like Archy Marshall, Bakar and Master Peace, with his music fitting into the worlds of hip-hop and indie, while sounding uniquely his own. With praise flooding in already from Vice, COLORS, The Line of Best Fit and more, the differing sounds of his new releases further demonstrate Theodor’s sonic dynamism.

Lead single ‘Slow Burns’ is an angsty cut dedicated to self-preservation; He continues to weave the profundity of experience into his lyrics: “learnt my lessons and grew up strong / now I’m black boy militant”, whilst the urgency in the production adds a rebellious freedom: “no noose on my neck / no nine to five.”

“The song speaks of perseverance and growth, even in times of hardship,” Theodor explains, “inspired by my realisation of the disintegration of the city space, London as we know it is slowly burning away whilst nobody notices its decay.”

It comes alongside a visual directed by his girlfriend that captures a similar urgency, watching Theodor try to outrun an ambiguous organisation, be interrogated and beaten and finally being set free.

The second track, ‘Anxiety’, acts as an antidote to ‘Slow Burns’ – a sombre and mellow comedown showcasing Theodor’s Octavian and J Hus-esque vocals: “Anxiety speaks on my first time experiencing it, that feeling when your heart starts racing and the room starts to spin I thought I was going to die. In the song I’m telling it to go away and leave me alone.”

Theodor Black is quickly establishing himself as a self-sufficient pioneer of alternative, lo-fi UK hip-hop and R&B, with a promise of much more to come in 2020.

‘Slow Burns’/’Anxiety’ is available on all online platforms via DMY Records on 5th December.


Theodor Black Online                              
Instagram / Facebook


NO TIME FOR REASON RELEASE QUIRKY NEW VIDEO FOR CATFISH SINGLE

Following press and radio acclaim for their recent Reviver single, and with a growing fanbase on Spotify, Newcastle rockers No Time For Reason are back with another punchy new track and a video to accompany it. The three minute Catfish is a blast of punkish energy and pop hooks alongside garage-rock guitars and is out now.

Watch the quirky new Tinder-inspired video for Catfish here now.
Catfish is both a satire of millennial dating and a self-reflection on lyricist David Stoker’s personal experiences, with lines such as ‘Big talker, no excitement, red dress, false advertising’ exploring his take on 21st century romance, digital dating and late-night encounters.

Fronted by Stoker, No Time For Reason hit the scene hard at the beginning of 2019, playing some packed venues around the North East including a headline show at the legendary Cluny. The band, also consisting of Charlie Philp (lead guitar), Henry Poxon (bass) and Tony Liam (drums), have forged a dynamic mix of rock riffs and attitude alongside pop hooks and punk energy. They’ve already picked up press support and radio airplay around the UK, as well as widespread playlist adds. With two singles under their belt and more to follow in 2020, No Time For Reason will be touring hard and hitting festivals next year.

Find No Time For Reason at facebook.com/notimeforreason, twitter.com/notimeforreason and instagram.com/notimeforreason now.

M. WARD ANNOUNCES NEW ALBUM ‘MIGRATION STORIES’ OUT ON 03 APRIL 2020 ON ANTI- RECORDS

LISTEN TO FIRST TRACK 'MIGRATION OF SOULS’ ON YOUTUBE, SPOTIFY AND SOUNDCLOUD

M. Ward has revealed plans for his latest album, 'Migration Stories’, to be released on 3rd April 2020 via Anti Records.

Captivating first track, 'Migration of Souls’ is out now.

LISTEN TO 'MIGRATION OF SOULS’ YOUTUBE, SPOTIFY AND SOUNDCLOUD

A prolific writer, producer and performer, M. Ward has established himself as one of modern American music’s most unique and versatile voices. For his tenth album, he journeyed to Quebec, Canada to work with Arcade Fire’s Tim Kingsbury, Richard Reed Parry, producer/mixer Craig Silvey (Arcade Fire, Arctic Monkeys, Florence and the Machine) and Teddy Impakt. Together they recorded a collection of 11 songs inspired by stories of human migration. Languid, hazy and often dream-like in narrative, these songs have their origins in pictures from newspaper and television reports, stories told by friends and tales from Ward’s own family history. At Arcade Fire’s Montreal studios the assembled talents recorded what he describes as “11 largely instrumental ballads - a sci-fi fast forward to a more silent night many generations from here to a maybe-era where movement is free again.”

Says Ward of the stories which informed these songs, “Some time went by, the stories wove together and I remember them now closer to characters in a dream of how people could treat each other than any kind of front-page news realism. I think music subconsciously - whether writing or listening - is a filter for me. Helping to process all the bad news into something new to build from. Some records to me are like self-fulfilling prophecies - visualizing change to wish something into being. Those records inspired this one.”

M. Ward’s music has always felt intricate, intimate and otherworldly. With Migration Stories he breathes beautiful life into vignettes of human flight, blurring the lines between reality and fantasy as it reckons with a world that feels more divided than ever before, even as its inhabitants grow more inextricably linked by the day. With a rich, emotive croon - which Uncut Magazine once likened to “honey drizzled onto a dry creekbed” - he conveys a huge depth of emotion, captured in the studio, almost entirely on the very first take.

Ward’s delivery is tender and gentle throughout the album, but there’s an undercurrent of darkness floating just beneath the surface; a persistent sense that the end may be closer than any of us dare to realize. Eerily beautiful opener “Migration of Souls” imagines a reunion beyond the boundaries of space and time, while the slow-shuffling “Heaven’s Nail and Hammer” gets lost in the stars, and the driving “Unreal City” searches for peace in a post-apocalyptic swirl of synthesizers. The album includes Ward’s deft take on the 1940 cowboy ballad, “Along The Santa Fe Trail”, popularized by Glenn Miller. It’s a record that draws on the full gamut of Ward’s profound powers as an artist, mixing folk tradition and timeless song craft with bold production and transportive sonic landscapes.

While he’s perhaps best known for his own remarkable output - nine acclaimed studio albums that have prompted Rolling Stone to hail him a “folk hero” and The Guardian to praise him as “a maverick auteur who draws upon blues, folk, country and art-rock, and is equally adept within each genre” - Ward may be equally celebrated for his wide-ranging and adventurous collaborations. In just the last decade alone he’s teamed up with Conor Oberst, Mike Mogis, and Jim James to form the beloved supergroup Monsters of Folk, paired with Zooey Deschanel for six records as She & Him and worked in the studio and on the road with the likes of Mavis Staples, Jenny Lewis, Norah Jones, Cat Power, Neko Case, Lucinda Williams, Peter Buck, and countless more.

'Migration Stories’ - Tracklist:

1. Migration of Souls                                          

2. Heaven’s Nail and Hammer                    

3. Coyote Mary’s Traveling Show                

4. Independent Man                                          

5. Stevens’ Snow Man                                        

6. Unreal City  

7. Real Silence

8. Along the Santa Fe Trail #

9. Chamber Music

10. Torch

11. Rio Drone

# Written by Al Dubin, Hugh Williams

PRE-ORDER ALBUM HEREwww.mwardmusic.comwww.facebook.com/mwardmusicwww.twitter.com/mwardtweetingwww.instagram.com/mwardtravelogue