DATE ARCHIVES : August 2019

Caoilfhionn Rose – ‘Being Human’

Caoilfhionn Rose is a singer, songwriter and producer from Manchester who came to our attention with the release of her exquisite debut album Awaken last year.

One of 2018’s finest discoveries, Rose’s sound draws from a deep well of folk, psychedelia and subtle electronica influences, ranging from The Mummers, to Rachel Sermanni, Melody’s Echo Chamber and Broadcast, she produces her own unique brand of beautiful, expansive, fragile and experimental psych-folk. Rose is back with a new single ‘Being Human’, the latest lifted from her debut, it is a perfect encapsulation of her exquisite sound. Shrouded in a mystic aura, it is an elegant, awe-inspiring and charming blend of pastoral psych-folk as a trickle of keys, delicate strings and warm vocals create a hazy, soothing and swirling and effervescent psych-folk. It is calm, at peace and positive as the elegant production and bewitching atmospheric tones combine to transfix entirely – not a bad place to be captive.

‘Being Human’ is below along with its visual companion, filmed in Fletcher Moss Park. The album is just as beautiful an affair – listen to it here.

Beachtape – ‘Somebody Like Hugh’

Beachtape are Brighton-based indie foursome – Andy, Dan, Leo & Rory – whose sound is marked by an exploration and seemingly unpretentious love for 90’s nostalgia.

Beachtape’s output thus far is littered with utterly lovable fuzzed-up jams, heavy on the catchy melodies and fuzzy guitars, and straddling the worlds of Pavement, Weezer and The Pixies. The band’s latest single ‘Somebody Like Hugh’ follows suit, resplendent in it’s lo-fi fuzzy glory. An irresistible delight of infectious, fuzz-fuelled indie; crunchy guitars, meaty basslines, crashing cymbals and catchy chorus abound amid warm layers of fuzz and distortion as sweetly melodic hushed vocals float above. ‘Somebody Like Hugh’ is sweet, laid-back and richly melodic as it purrs along on the right side of familiar – it is an absolute joy.

You can check out ‘Somebody Like Hugh’ below and there is plenty more where that came from here.

Memes – ‘Happy Shopper’

Glasgow lo-fi post punk noise-makers, Memes, introduced their fiery, furious and feisty wares this summer with double A-side debut single, ‘Blah Blah Blah‘ / ‘Funny Man‘.

A thrilling, raw and exhilarating opening salvo, Scottish duo Memes – comprised of cousins John and Paul McLinden – have returned with new single ‘Happy Shopper’, and they have nailed it again. Opening with a steady tambourine beat and meaty bass riff, ‘Happy Shopper’ is as prickly and barbed as its predecessors with sneering, sardonic vocals are spat out over it. Joined by sharp, rising riffs, steady beat and a melodic sensibility, it is a short, sharp and swaggering blast of thrilling (and utterly infectious) post-punk. As with the double A-side, Memes have delivered a thrilling, sardonic and rockin’ jam (with flashes Sluts of Trust, The Fall & HMHB) that will have you hooked.

At the risk of sounding hyperbolic, Memes are one of the most exciting new discoveries of 2019 – listen to ‘Happy Shopper’ and tell me otherwise.
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Japanese Television – ‘Slime’

British four-piece Japanese Television captured our imagination when they introduced their furious fusion of post-punk, psychedelia and krautrock with exhilarating single ‘Bloodworm’ earlier this year.

The foursome have returned with new single ‘Slime’ and while those three aforementioned components remain front and centre, it is more foreboding than furious. The mood is glowering and sinister and the drone is very much in evidence. ‘Slime’ is propelled along a relentless, chugging groove, meaty bassline, burning guitars and kraut rhythms over minor keys,eerie tones and spooky feedback. Gripping and tense, there’s no let up in intensity – this is imaginative, dark and hard edged psych-rock of the very finest order.

Tune into ‘Slime’ below and if you like what you hear, their latest EP is here too.

Mani Bazaar – ‘Dead’

Mani Bazaar is a musician, singer & songwriter from Ireland with a preference for ethereal goth-infused dream-pop.

It’s not often that a debut single delights, excites and enthrals as much as this but with ‘Dead’, Mani Bazaar has utterly bewitched with this alluring piece of dreamy pop perfection. ‘Dead’ slowly unfurls, washing over you with an ease and breeze as each passing moment reveals itself blissfully surreal, immersive and idyllic. Synths shimmer, guitars glisten and soft beats trickle beneath a cascading wave of warm electronics. It is a lush blend of ethereal, exquisite and heavenly electronica, a suitably beautiful backdrop for the heavenly, hushed and lullaby-esque vocals. ‘Dead’ is transfixing, heavenly electronica; an exquisite beauty tempered by subtle senses of the eerie while building gently to a bout of mild euphoria.

Tune into the blissful sounds of ‘Dead’ below – you will not be disappointed.

Seazoo – ‘Throw It Up’

Welsh indie maestros Seazoo have made habit of charming us with their effervescent indie-pop sounds, and the North Walian outfit are back!

Bursting with all that recognisable exuberance and fizzy with energy, ‘Throw It Up’ is Seazoo’s first new material since their 2018 debut album TRUNKS, one of last year’s finest. It is a charming and sprightly encounter that whizzes and fizzes by bursting at the seams with fizzing guitars, sparkling chords, splashes of synth, delicious melodies, irresistible choruses and delightfully playful, somewhat off-kilter, character. Lyrically, it deals with people rejection of aspects of modern life (tech, tech platforms, etc.) to improve their happiness and general well-being – one thing is for sure, you will be all the better for letting both Seazoo and ‘Throw It Up’ into your life; they are unrivalled in that department. It’s been said many, many times on here before but it worth reiterating; Seazoo are an absolute treasure!

Listen to ‘Throw It Up’ below – it is the first single lifted from their second album which is expected next year.

Karate Blocks – ‘Speaking Tongues’

Nashville trio Karate Blocks know how to kick out a jam and their latest single ‘Speaking Tongues’ embodies what they are all about in a nicely distilled three-minutes.

Big on riffs and energy, ‘Speaking Tongues’ is a raucous blast of rock ‘n roll, bathe in swathes of fuzz & distortion. Conceived around a “a house party gone bizarre” it is a powerhouse punchy riffs and combines a crunchy garage rock sound with an abundance of catchy melodies. This upfront and honest no frills approach has been done by many but this is their interpretation of a genre and era they know and love and it is executed with perfection. The trio have figured out the deceptively simple, age-old secret to transcending influences: just write top notch songs.

Check out ‘Speaking Tongues’ below. Enjoy!

Simen Mitlid – ‘Football’

Simen Mitlid is a Norwegian singer-songwriter hailing from the woodlands of Os, who has a precocious talent for lush, Nordic indie-folk.

Mitlid will follow-up his wonderfully charming 2017 debut LP, Everything is the Same with new album Neutral, in September. Having drip feed us tracks over the past six months or so – ‘Saturdays’, ‘Tell Me Everything’ & ‘Trying’ – he has gifted us another treat in the shape of ‘Football’. It is a charming indie folk ballad about the difficulties of loving the sport you can’t play. A gentle and heartwarming ditty brimming with quirky melodies, laid back and easy going arrangements. It is an effortlessly cool and breezy sound tempered by a wistful melancholy. As always, as beautiful and elegant as the backdrop is, it is Mitlid’s hushed voice, imbued with warmth, that is wholly irresistible.

Yet another lush bout of divine indie-folk – all is looking rather grand for his new album come September.

Tune into ‘Football’ below:

Introducing: I Drew Blank

I Drew Blank are Berlin-based outfit comprised of bassist & singer Oyèmi Hessou (Jaguwar), guitarist & singer Dominik Jureschko (White Hand Gibbon) and drummer Eilis Frawley (Party Fears).

Together the trio deliver a special blend of lo-fi fuzzy slacker garage-pop that melodically drifts between early ’90s and west coast vibes – something born out on their addictive new EP; Interesting Life Choices.

While primarily the music is easy on the ear and seemingly carefree, as songs slide by with an effortless ease and general breeze. On repeated listens however, much more bite and greater thematic depth is revealed; dark thoughts and failed relationships meet escapism and reflection over five tracks. This dizzying encounter opens with ‘No Promises Were Made’ which could serve as the archetypal blueprint for the band’s sound. Pumped with meaty riffs, heavy driving bass lines and sappy snare kick combos ‘No Promises Were Made’ has no shortage of bite and punk grunt or melodic pop allure for that matter, provided by the dreamy riffs, sweet licks and hooks. The vocals are passionate, melodic and dance in the remaining space provided in the mild haze of warm fuzz and distortion. Elsewhere ‘What We Need Is Time’ is even more more infectious as it breezes by with an abundance of heavenly harmonies while ‘It’s Winter, It’s Warsaw’ is less breezy, more gallop as it hurtles along a dancey groove with jerky riffs, cowbell and interlocking harmony rich vocals.

This is a dazzling fuzz-filled display of lo-fi, garage-indebted indie-pop. On the right side of infectious and grit, it is a tonic to the overly-polished and ekes out a perfect space on the musical landscape.

Tune into some choice cuts below and the EP can be found here.

Superheart – ‘Opening Credits’

UK-based producer Luke Batt aka Superheart has proven a reliable source of comforting and dreamy, electronic synthpop jams with a string of suitably sublime singles over the past two years or so.

The most recent of which – ‘Count On Me’, ‘After Midnight’, ‘Satellite’ & ‘Talk About It’ – make up the bones of a new EP called Opening Credits, which is fronted by a new single of the same name. ‘Opening Credits’ has a soul soothing quality and grooves along with a dreamy allure. It floats along a soothing layer of synths, pillowy soft beats and flickers of warm electronics that coalesce beautifully, swelling to create a hopeful and positive vibe. All the dreamy and blissful vibes, warm and endearing soundscapes, are given a last beautifully, tranquil and soothing finish – namely the heavenly (and somewhat hypnotic) vocals. ‘Opening Credits’ is like a breathe a fresh air and utterly divine, and as lush and alluring as anything else Superheart has released to date.

Check out ‘Opening Credits’ below – the entire EP is here too, it comes highly recommended.