Music Dissection

REVIEW// Flight Brigade: Shaw Court Sessions EP

2012-03-06T12:01:00.001-08:00

Flight Brigade are a progressive-folk septet, composed interestingly of two families and an inherently close set of friends. Born astride Oliver Baines' marriage to Miriam Hughes, this seven-member collective boasts a certain intrinsic connection few bands can match, these six tracks emulating their innately beautiful togetherness. Humble vocals interject majestic instrumentals, guitars and drums lending the accordions and glockenspiels a sound more sublime than either could achieve absent the other. A violin and a classically-trained ear offer the 'Shaw Court Sessions' a level of regal orchestration too, ever-heartfelt and never self-indulgent. Finally, poignant lyricism and nuanced harmonies are added into the mix, a retrospective and subtly despondent tone emerging from their combination, laden with the sighs of missed opportunity. The 'Shaw Court Sessions' is, an undeniably magnificent EP.

Opening with 'Sirens', an intriguing vocal harmony plays off a quick, finger-plucked sound. A sombre mood takes hold, curiously mystifying and strangely provocative, recalling some fuzzy, far-off land, the shadows of childhood monsters causing your heart to beat faster. A pre-emptive drum falls into place, Oliver's soothing vocals spurring you on as you run. He talks of struggle, the sounds slowly layering and building. A female voice sits underneath the main vocal line, perfect in pitch. Subtle inclinations in notes make you shiver, climactic explosions of adrenaline rushing like lactic acid through your body. Lyrically we're treated to some stunning lines, trains and mountains adding to the vast, epic soundscape. 'The Hill' follows 'Sirens', a violin, delicate percussion and hand-claps backing vocals that swell effortlessly between registers. A piano instrumental splits verse and refrain, a cinematic finish leading into 'Children of Ohio's perfected nostalgia. Innocent and simple and all the more potent because of it, a hopeful sense of childhood memory prevailing like it never has before. Graceful in its construction and composition, this is retrospection at its best!

'Seven Seas' is the start of 'Shaw Court Sessions' second half, and it demands reference to Arcade Fire's 'Sprawl II'. After Oliver sings "stuck here instead", I half expected to hear Regine Chassegne sing her famous "mountains beyond mountains". Far from a bad thing, Flight Brigade emulate the same feeling, but execute it at a slower pace, comprehending the lyrics with admirable emotional attention. The 'Door That's Never Opened's high notes and the recognisable folk sounds of 'When the Water Whispers' close these thirty minutes as wonderfully as any. Lyrical genius and dark, lush instrumentals amalgamate into a final and triumphant parting of ways.

Stream 'Sirens' down below, then head over to Flight Brigade's site and grab a copy of all six tracks. You can download the whole EP for whatever price you deem appropriate, but after streaming all the songs you'll want to support the band in any way you can! All their effort for potentially no reward makes these seven musicians' brand of rock-infused folk a rather humbling one, big, orchestral and passionate, but also quietly and unashamedly profound. So, listen to 'Sirens' below and explore this fantastic EP in its entirety over here!

INTERVIEW// Being There

2012-03-05T11:45:00.004-08:00

Enchanting quartet Being There is James Robinson, Nick Orlenshaw, Tom Rapanakis and lead singer Sam Lewis. After loving both the band's split single and their latest track '17', I jumped at the chance to send Lewis some questions. In the short interview below, we chat about his varied influences, style plans and even some possible future sounds! It reveals an artist and musician as humble and individual as his nostalgic music portrays. Read the interview below, then find my original review of Being There's split single 'The Radio' here! Thanks to everyone at Young and Lost Club and to Mr Lewis for answering the questions!

Music Dissection: How did you all meet, and what's behind the band's name?

Sam Lewis: We met at University, then moved down to London together and started taking playing music more seriously. As for the name, I wanted something that wasn't a 'The' or a 'And The' kind of name, and I just liked the phrase Being There.

MD: What are your influences and inspirations both musically and lyrically?

SL: Musically I love songwriters like Bradford Cox, Kurt Vile and Jeremy Earls, as well as bands like Duckatils, Yo La Tengo and Guided by Voices. Lyrically I like songwriters who have a slightly abstract approach, like Cox and Robert Pollard. Pollard especially has an amazing kind of collage approach to lyrics, with all these disparate images that amount to more than the sum of their parts. I love the honesty of Jeffrey Lewis and Jonathan Richman too. But my all time favourites are probably Bob Dylan and Arthur Russell.

MD: We loved your split single and track '17', so what are your plans album-wise?

SL: Thanks! Our debut record will come out on Young and Lost in late May. Exciting!

MD: Your brand of summer melancholia is distinctly nostalgic. Are we going to here an evolution from that style in the future?

SL: Hmm it's hard to say really...good question. I think nostalgia is a totally valid form of expression, and most of my favourite things are based on nostalgia - Woody Allen's films like Zelig, Annie Hall or Broadway Danny Rose. Bergman's Wild Strawberries. Gondry's Eternal Sunshine. Tolstoy's Ivan Illych and Flaubert's Sentimental Eductation...Sebald's books like The Rings of Saturn, and Nabakov's Speak, Memory. Tarkovsky even made a film called Nostalgia. And then there's the Ethiopian blues, which aren't called the blues but Tizita, which translates as memory or nostaliga. Some of the Tizita songs are so beautiful, like this one by Getachew Kassa, or this by Emahoy Tsegue-Maryam Guebrou. These are all things I love. I think nostalgia has this amazing mixture of sadness and joy, sadness at the passing of time and the happiness of remembrance....so to answer your question, I think I'd find it hard to move away from it altogether.

MD: Are there any instruments or sounds you want to record with in the future?

SL: I'd like to have more electronica in our sound in the future, more computerised beats and samples and keyboards.

MD: Who are you all listening to at the moment?

SL: I've been enjoying the new Lambchop album, Atlas Sound's Bedroom Databank albums, The Clams Casino instrumental record, the last Tiny Vipers album and Jonathan Richman's poem about turning 60.

MD: You were recently selected as one of NME's bands to watch in 2012. First off, congratulations! Did you ever think Being There would get as big as it has?

SL: Thanks, but I think we're some way off being big yet! But being in NME is very cool.

MD: You also toured with Noah and the Whale, which must have been pretty amazing! What did you learn from your time with them, and has the experience made you more confident performing?

SL: I think playing in front of so many people every night can only make you more confident on stage, which is a good thing. As for what we learnt, I think the key is just to keep playing...they're always touring and on the road, so a good show for them is just second nature, they don't even think about it or get nervous, as far as I can tell anyway.

MD: Finally, what is your favorite album and why?

SL: Blood on the Tracks by Dylan. Its got everything for me, lyrics, music, songs? Perfect!

Thanks again to Sam Lewis for answering Music Dissection's questions, and to everyone at London's Young and Lost Club for arranging the interview. I'm certainly looking forward to hearing Being There's debut full-length in May, but until then I'm satisfied with their split single and the melancholic '17'! Find coverage of both by clicking the 'Being There' label below, then, when you have the time, check out The Young and Lost Club's website here!

VIDEO// Colours: In The Summer

2012-03-04T04:06:00.000-08:00

New track and accompanying video from Tom Crandles now. Back in October we reviewed his eponymous debut EP, the four tracks of which glistened with nostalgia. Layered with a beautifully hazy experimental noise, melodies and thoughts and colours splashed across their fast-moving sonic bodies. 'In The Summer' marks a subtle departure from the sound however, and instead recalls 'Lost At Sea', Crandle's contribution to Hartzine/Beko's 2011 compilation. 'In The Summer remains intoxicated with reverb, a slower sensibility taking a hold on the despondent, post-punk vocals. Guitars and unassuming drums lend the song a sense of almost unnoticeable hope, swirling and floating through Crandle's wistful moot of a lost love. Analogue pops and crackles match the videos kaleidoscopic implosions, an infrequent image of Tom emerging, ethereal, transcendent and beautifully insubstantial.

REVIEW// Sisterland: Dirty White EP

2012-03-03T11:57:00.024-08:00

Leicester based trio Sisterland dropped their EP 'Dirty White' late last month, a four track effort reminiscent of pre-nineties guitar pop. Fuzzy and lo-fi and inherently alternative, the three members refine the tracks on 'Dirty White' with an impressively experimental edge. A certain nostalgia and subtle rock sensibility emerge from waves of reverb, but the way in which they do so lends the release a pleasant individuality, and one I was a little surprised to find. All too often bands recall rather than reinvent, a flaw that should not be applied to Sisterland. There are elements that verge on the banal, but overall, and as an EP, 'Dirty White' is worthy of your attention, stumbling clear of being merely affectionately mundane!

The first number on side A acts as the title track, Pixies-esque drums carrying a hook that, despite the song's name, seems to be the most demure on the EP. Reviving said Pixies influence they may be, but Sisterland lose any of that potential immediacy. I get the sense that 'Dirty White' was composed and recorded with radio airplay in mind, and after getting that out the way, these three guys could explore and experiment freely. 'Bunny Ears' is an example of such, faster guitar, drum and bass contrasting wondrously with the high notes the lead singer executes so brilliantly. A smattering of shoegaze cements the two melodies together perfectly, resulting in two and a half minutes that catch your attention. Following them is their reprise, Sisterland warping the core sound into an incredibly spacey one. A drum matches your hearts every beat, infrequent verses broken by strange sirens and an entrancing shower of cosmic dust. The successive 'Milk & Honey' is everything you wished the opener has been. Fluctuating effects and heavy instrumentation and light vocals all compliment each other perfectly, making the first track seem worse but the EP as a whole undeniably better. And so, the thirteen minutes that make up 'Dirty White' draw to a close.

Sisterland's single 'Tomorrow' was backed by Mogwai, named as their single of the month last year, and 'Dirty White's determination to attract similar attention is admirable. This trio stray from the path a couple of times, but as the title of the EP suggests, the combination of pop nous and lo-fi passion makes for an intriguing listen. Stream 'Bunny Ears' below to sample Sisterland's delights, then purchase all four songs from Blessing Force over here!

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As a bonus here's the pretty psychedelic and DIY music video for 'Bunny Ears'. Sisterland twirl guitars and rock about a bit, which confirms the song's enjoyable, carefree vibe. I am definitely looking forward to the trio's next release, but 'til then I'm satisfied with this video!

MP3// Death Grips: Orange Military (Nasa Remixes)

2012-03-01T10:45:00.006-08:00

<a href="http://uncommonrecords.bandcamp.com/album/orange-military">Orange Military by Nasa Asan</a>

Death Grips' 'Ex Military' was one of the first albums Music Dissection ever reviewed, their aggressive punk-rock hip hop sound a wondrously experimental one. Almost a year later and here we are, with remixes from Nasa, a producer whose name is a regular one upon our pages. The first track is 'Takyon', a number that retains all of its original abrasive and relentless charm. Apocalpytic drones stand resolute, throbbing and supporting this trio's equally cataclysmic and slightly unhinged vocals. The following song 'Guillotine' features a contribution from ADAM, layered over warped horns and effects and queer, nightmarish theatricality. Suspense builds and lends everything an excellently distorted horror, more so than the original release for sure. I don't know whether Nasa and ADAM's take on the two songs you can stream above surpasses the original, but they come undeniably close! The two tracks and complimentary instrumentals can be downloaded for free here.

VIDEO// Mirror Lady: For Good / You Left Me

2012-02-29T11:37:00.002-08:00

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;a href="http://mirrorlady.bandcamp.com/track/you-left-me"&amp;amp;amp;amp;amp;gt;You Left Me by Mirror Lady&amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Mirror Lady have been shown a lot of love on Music Dissection, and for very good reason! The Los Angeles band records a brand of New Wave inspired bedroom pop that seems to gleam under a diffused lo-fi light, distorting slightly as dream refracts reality. It's a brilliant thing indeed, and one that easily warrants this double-barreled post. We can thank Indie Ambassador for the first half, a stripped back session recording of an unreleased number 'For Good'. Four and a half minutes of electronic-infused guitar, it's a song that reveals a humble story of love and all its beautiful belmishes. Lost love is a reoccuring theme for an incredible amount of music, but Mirror Lady's unique tone and soft sincerity sticks in your head for the longest, gentle percussion recalling the swelling tide of "Silver Lake"...

The next number was released earlier this month and goes by the name 'You Left Me'. An equally melancholic song, bigger instumentation builds a wall of ever-flowing sound. A few prolonged notes send shivers down your spine, recalling one of my favourite songs from last year, Perfume Genius' 'All Waters'. Threatening to crack but forever standing firm, an unpretentious vulnerability seeps from somewhere deep within the very fabric of the track. Neither the technical ability nor the stunning lyricism let such passion through. It is, I think, the lead singer's ability to convey without effort, the subtlest, and most fragile of emotions.

MP3// Being There: 17

2012-02-29T10:20:00.000-08:00

Being There has returned triumphantly, with the triumphantly understated '17'! As the title suggests, there is a smattering of teenage angst here, mooting with melancholic nostalgia the flawless image of a seventeen year old girl. Wailing guitars and emotional drums back lead vocals that stun. Breaking into whispers, they compliment beautifully the restrained nature of the lyricism, the instrumentation revealing in all its passionate scope and classic execution Being There's true feelings. For a song that runs for just two and a half minutes I have to admit I was captivated from the off. Brilliantly constructed and composed, stream the wonderfully unassuming '17' below, then just let the sound smother you in satisfaction!

REVIEW// Warm Weather: Looking Through EP

2012-02-28T11:49:00.000-08:00

Last year we were treated to the brilliant EP 'Dances', a five track debut from Los Angeles and its resident pop trio Warm Weather. Fast forward half a year and here we are with the band's sophomore release 'Looking Through', and you can be sure of a full review rather than the undeservedly short paragraph we dealt its predecessor! The EP is composed of four heart-warming songs, layered with Beach Boys harmonies and easy comparisons to both Grizzly Bear and the infallible Paul Simon. Folk instrumentation and certain pop nous prevail, dipped in a unique sugary eccentricity and undeniably restrained rock passion! A surprising amount of variety emerges, without ever busying the final product more than is necessary. Dynamically, there is a subtle progression from 'Dances', and Warm Weather most definitely wear it well. My desire for a full-length album has, after this, just rocketed!

The EP opens with the relatively short 'All My Life', the vocals fluctuating between low and high in a manner not theatrical, but reminiscent of that same musical musing. Backed by a set of beautiful harmonies and the plucking of a humble guitar, the lyricism is stunning in its sweetness, an aesthetic helped by shimmering percussion and a reverberated veneer! A climactic finish leads into 'Stay', the fastest number on 'Looking Through'. Indeed, it is from these three minutes the title of the EP was plucked. Guitars and drums support with almost Mediterranean zest the soothing vocals, the catchy refrain a stand-out feature. An incredibly thick musical interlude harks back to The Who, classic rock lent a folk sensibility rushing into your ears. 'Bull Run' follows, fast arrangements contrasting the slower singing perfectly. An penultimate gem, the harmonies truly come into their own and a completely unnecessary but completely wonderful finish marks the beginning of the end. 'A Promise' succeeds 'Bull Run' and pushes the boat out regarding individuality and those trademark layered vocals. It's final six seconds of nostalgic piano is a little odd, but something about its nonconforming, soft rebellion is both refreshing and immediately intriguing!

Available for whatever price you're willing to pay, 'Looking Through's mere eleven minutes are enough to sustain a lifetime love. Genre and influence-blending, Warm Weather are a band that execute such experimentation with the utmost sincerity and grace, which is one of many reasons why they are worth your attention! Stream 'All My Life' down below, then get a copy of both 'Looking Through' and 'Dances' from Warm Weathers Bandcamp here!

&lt;p&gt;&amp;lt;a href="http://warmweather.bandcamp.com/track/all-my-life"&amp;gt;All My Life by Warm Weather&amp;lt;/a&amp;gt;&lt;/p&gt;

REVIEW// Gorgeous Bully: The Young Obese EP

2012-02-27T12:13:00.000-08:00

Plymouth's music scene is close to non-existent, but that hasn't stopped Gorgeous Bully from blooming. The man behind the moniker is Thomas Crang, and 'The Young Obese' is his fourth effort abaft of such a pseudonym. His first release on Art Is Hard records, these five tracks succeed three self-promoted EPs, and retain a certain lo-fi, grunge-pop charm! Shoegaze sensibilities meeting garage rock aggression meet a fervorously fun pop nous, and the amalgamation of sounds is executed well. My complaints are with the word charm. This EP doesn't really bring anything new to the table, but its that nostalgic and carefree attitude that stops my attention drifting. It doesn't drive me to captivation, but then doesn't repel any contemplation either. It is, in all its satisfying fuzz, quite unbelievably charming!

Opening with 'Never Cry', you can almost hear the seaside hidden in Crang's vocals. Phil Spector's wall of sound is built up around him, trapping you in a memory of summers past. A peppy guitar melody and beautifully dissonant drums back question after question, few answers emerging from ambiguous and child-like "Ba da dam"s. Its lack of a specific event means its easy to simply fall into and groove along with, and that's what makes it so great! 'Stamp' follows, an upbeat reminiscence offset by the refrain "I just want to tear it down". A sense of lost love prevails, a sad melody and toned down singing quietly despondent. The rocking nature of 'Who Do You Think You Are' jerks you back to life however, noise and a pounding drum beat supporting reverberated vocals that recall the Arctic Monkeys. There is a pop song in among the riffs, crushed into the mix with an abrasive hand yes, but there all the same. A Yuck influence and comparisons to both Bos Angeles and Art Is Hard label mates The Black Tambourines can be picked out from between its sheets, and ultimately, from the final two tracks as well.

The EP was released physically as a cassette in a handprinted cigarette-pack style case but it looks as though the small quantity has already sold out. While 'The Young Obese' is promising when it comes to full-length potential, its not for my repeated listen. Five tracks of charming lo-fi rock might be enough for some, but for me, the vague, hazy recollection made me squint, a little too much. Stream 'Never Cry' below, then explore the full EP here!

Never Cry by Gorgeous Bully

MP3// Anne-Marie Sanderson: Endless Eyes

2012-02-23T23:39:00.000-08:00

&amp;amp;lt;p&amp;amp;gt;&amp;amp;amp;lt;a href="http://annemariesanderson.bandcamp.com/track/endless-eyes"&amp;amp;amp;gt;Endless Eyes by Anne-Marie Sanderson&amp;amp;amp;lt;/a&amp;amp;amp;gt;&amp;amp;lt;/p&amp;amp;gt;

Cumbria's Anne-Marie Sanderson just has one of those voices. Her acoustic guitar pop is soothing, folk sensibilities seeping into the song's very fabric to form a track so beautifully unassuming and humble and uncomplicated you cannot find fault. Her vocals are perfect, intertwining with every unblemished guitar pluck and provoking with every surreal lyric and every dreamy thought a sense of complete satisfaction. Backed by the ethereal notes of a shy female voice most likely her own, Sanderson sings with unparalleled ability. Every one of the words here is relayed with meaning, flowing into the next and often prolonged in an innately mesmerising fashion. Slight, shudder-inducing changes in pitch recall voices like Norah Jones or Laura Veirs, though perhaps stronger. There are no breathy whispers on this track. Instead we're given a vocalist who is truly, undeniably comforting. The build that leads into the conclusion is executed without batting an eyelash and it's this that highlights what I love about Anne-Marie. It is without doubt, her effortless ability to make me feel. Go and stream 'Endless Eyes' above, then grab a free copy at Sanderson's Bandcamp page!

MP3// Cheerleader: Do What You Want

2012-02-23T11:02:00.001-08:00

Where I am cold is not an oddity. After the winter blues and the siege of woollen garments that we've had to endure over the past month or so, todays sun and heat offered pleasant respite from the chill. And what better soundtrack to such delight than the ever-delightful duo Cheerleader. Donovan Rex and Max Friday's latest number 'Do What You Want' is an escapade of child-like proportions, whistles and handclaps remeniscent of a childhood on the shoulders of life, the hero of every adventure and the vanquisher of all and every evil! Looking back with a grin, these two guys have crafted a tune as memorable as any, subtle undertones throbbing with their trademark nostalgic longing. Perfectly executed and, with undeniable ease, perfectly uplifting! Stream 'Do What You Want', and let out that sigh!

REVIEW// Kapowski: Boy Detective

2012-02-22T11:17:00.001-08:00

We first caught wind of Kapowski back in November, when the Perez Brothers sent over their spectacular video for the track 'Section 8'. The first number to drop from the Oakland quartet's debut album 'Boy Detective', those four minutes retained a romantic individuality that refused to leave my head, off-kilter drums and an enticing keyboard melody harking back to a long-forgotten era. And yet I remained, eerily focused on the future in a manner quite unnerving. Staring out into an impenetrable fog only to make out grinding, hulking shapes ignorant of everything bar a goal I failed to acknowledge. Kapowski's utilisation of piano and drums and organ and bass makes for a varied listen, the absence of any guitar an intriguing exemption. Taking note of the band's influences, their vintage inspiration is both admirable and undeniable, reaching back into the early 90s to pull George Gershwin from his piano and set him alongside composer Harold Arlen and The Kink's Ray Davies!

The lead singer and lyricist Jesse Rimler's vocals are similarly fascinating, recalling artists like Conor Oberst and The Flaming Lips' Wayne Coyne. It's quirks and lilts carry with ease the bands unique perception and smile-inducing indie-pop ambition, aching with an innate emotional anguish. While Rimler often sounds fun and carefree, as though at any moment some surprise might be sprung upon him, subdued tears seem to well up often too. That incredible contrast between happiness and despairing sentimentality is the equilibrium in which Kapowski exist. Its a place all their own, and one 'Boy Detective' lets you explore!

Preceded by 'Look Alive's beautifully warped piano warble, 'Section Eight's magnificently antiquarian percussion and spaced-out keyboard melody stun. Layered over vocals that become progressively entwined within the sound, breaks of cinematic suspense keep you forever on the edge of your seat. Musical theatre makes its influence known on the track 'Picture of Health', slow and yearning and backed by a humble big-band. A brilliant finish feels both personal and epic, the vocalise reverberated and truly, unbelievably wondrous! 'Late Last Night's darker, hypnotic theatricality emerges from its melodic beat. High notes and fluctuating horns and deep harmonies contrast perfectly. Come the midpoint however and the video stalls. The tape crackles before lurching back into life for another eccentric round. 'Errata's evening musings shiver behind a frosty window, street-lights an amiable warmth as they glow. A blues hum and slow jazz groove prevail, tender and poignant and a comfortable lead into 'Boy Detective's concluding numbers.

The drums and whistles of 'The Underling' float over keyboard phrases as classic as any we're heard so far. Backing singers hum to certain moments of the perfectly constructed track, a distorted scale bringing reality crashing around our ears. The lyrics take the form they've always taken, focused on story-telling and all the better for it! The jaunty 'Shut-In On the Go' continues with the style, faster percussion and avant-garde organ sections an unusual amalgamation. A slow mid-track interlude refracts the vocals, now bubbling below a layer of silky vibration. And so we come, sadly, to the final song. 'Reel to Reel' opens with a fantastical sonic swirling, a lone piano plucked out from its imagination. Moving and benevolent, its lyrics ponder the humorous but watch with sad eyes. A stunning trumpet concludes the song and indeed draws the entire album to its last blameless breath. 'Boy Detective' is superb, orchestral instrumentals humbled by Jesse Rimler's voice and the band's collective ability to transcend seemingly time itself. It goes without saying that you should stream 'Picture of Health' and buy the full record from Kapowski's Bandcamp here!

&lt;p&gt;&amp;lt;a href="http://kapowski.bandcamp.com/track/picture-of-health"&amp;gt;Picture of Health by Kapowski&amp;lt;/a&amp;gt;&lt;/p&gt;

REVIEW// Trailer Trash Tracys: Ester

2012-02-19T07:07:00.000-08:00

Trailer Trash Tracys first caught my ear in 2010 when I happened upon No Pain in Pop's compilation from the year before. Their track 'Strangling Good Guys' featured, and luckily did nothing of the sort to smear the fascination I had with what was an intriguing number. It was comfortably nostalgic, reminiscent of bands like The Jesus and Mary Chain and Still Corners, but also a herald to groups like the infallible Smith Westerns and Best Coast. A whole year later and we were handed 'Candy Girl', another stunning track. My anticipation for a full-length debut grew, Trailer Trash Tracys' vintage experimentation the seemingly perfect sound with which to push forward a musical career. A number of influences and an artistic sensibility emerge on 'Ester', but for me, the latter is the outfit's major shortcoming.

It is often cited that being accessible and being experimental are mutually exclusive values but in many cases the presumption is wrong. I've often highlighted Radiohead, but I'll do it again. 'Kid A' managed to do what many people though impossible. Throw something truly different out there and do so in such as way that people 'got' it. Trailer Trash Tracys fail to grasp this concept. Instrumentals following a 'solfeggio scale' are densely layered on the album, indulgent and pompous and refusing to recognise that having a structure does not detract from the uniqueness of a record. Throughout 'Ester' the band's tendency to overcomplicate a melody and over think a musical phrase makes such elements dry and dull and lacking in any sort of immediacy. Simply put, the LP sounds as though whatever potential the tracks had has been removed by constant alterations and the resulting holes patched by layers of lo-fi production and unnecessarily flatulent effects. It's disappointing.

Perhaps I'm being overly critical though. There are a few nice numbers on 'Ester', one of which is the re-recorded version of 'Candy Girl'. Just as infectious as it was when it was first dropped, the drum beat carries a consistent rhythm, the shoegaze guitar moody and subtle and forgiving. Susanne Aztoria's vocals swell and swoop, at their sweetest and at their most surreal. Evocative of Emily Kokal from Warpaint, there is a self-assurance here that appears lost in the majority of the tracks and their frustrating and indecisive nature. In the number 'You Wish You Were Red' there is a pleasant simplicity, the reverb not overly annoying as it softens a ballad-like lament. Strong guitar and bass allow the music to in many ways, simply breath, which is a formula I wish the band had followed a lot more.

While 'Candy Girl' survived its inclusion within the album, I fear 'Strangling Good Guys' did not. Sapped of its vigour by numerous futile revisions, the initially refreshing drums have been drowned in reverb, the guitar suffering a similar fate. The psychedelic 'Rolling Kiss the Universe' and its complexity brings a headache rather than an immersive and thought-provoking listen, the cluttered 'Dies in 55' offering no respite. The distractingly fast guitar on 'Engelhardt's Arizona' creates a nice contrast between vocals and instrumentation, but it's an accidental combination. The remaining few numbers did nothing for me. 'Starlatine' and 'Turkish Heights' brood pointlessly, indistinguishable lyricism musing their own warped sensibilities, and 'Black Hole's similar form lacks any relative variation.

All in all, 'Ester' is a bold opening statement for Trailer Trash Tracys to make. Whether or not they fail in relaying it, it is a bold statement. Sometimes their subtleties balance their complexities to form truly intriguing numbers, the instrumentation interesting and worthy of any listener's attention. Other times the band's need to constantly refine means some of the better elements are left on the cutting room floor, the resulting song flaccid and dreary in its execution. The fact that the album took two years to record reflects their indecision and makes you wonder. Is it worth waiting another couple of years for a sophomore LP? Stream 'Engelhardt's Arizona' below and grab the full album from the Tracys website here.

REVIEW// Mike Marlin: Man on the Ground

2012-02-17T04:25:00.000-08:00

Londoner Mike Marlin battled depression and alcoholism. An unpleasant fact, but a fact all the same. I cannot begin to fathom what life was like for Marlin, suffocating sadness an ever-present threat, but from the experience something wonderful has emerged. The wall of desperation stretched far, its abhorrent proportions a barrier to recovery. Marlin's new album 'Man on the Ground' is an acknowledgement of sorts, more so than even his debut. It admires the strange, twisting dimensions of depression's great hurdle, commending the sharp jutting contours of its vast, snarling façade. Through adulation of the immeasurable, the incomprehensible can be comprehended, and its this heartfelt recognition that life isn't always kind that makes 'Man on the Ground' so fantastic. Its intelligent combination of the somber and the sincere is offset by a gloriously hopeful sense of unparalleled euphoria, a mixture of the disappointingly realistic and its acceptance forming a refreshing blend.

Released twelve months after his debut album 'Nearly Man', 'Man on the Ground' shows a number of small imperfections. Rather than a negative however, sometimes I listen and an innate human quality seems to emerge. An infrequent repetition of certain sonic phrases lends both a monotony and a comforting consistency, rough moments a reflection of life's lows rather than a lack of flawless refinement. Marlin's lyricism is a key feature of the LP as well, so the occasional predictable rhyme and unusual line is easily overlooked. It is probably true that given time to mature, 'Man on the Ground' would have flown above any criticism, but in being on the ground the relation you can have with the music is multiplied ten-fold. There can be bad errors and there can be wonderfully human ones. Marlin has recorded eleven tracks that try and succeed in ensuring they limit themselves to the latter.

A multitude of influences reveal themselves within said eleven tracks. The National's post-rock aesthetic and use of piano is emulated. Johnny Cash's lyrical style and David Bowie's voice are all recognisable within each number, Elbow's love for orchestral instrumentation layered over both. Lou Reed, Badly Drawn Boy and a number of other inspirations seep into the music too, but surely this leaves little room for individuality? Marlin's management of his influences however is an intelligent one, the amalgamation of sounds mixed in such a way as to deter the label 'tribute act'. Instead, a unique authenticity emerges from these layers, the complexity of their combination providing a style and personality all their own!

The LP opens with 'The Magician' and its downbeat vibe. A ticking sound carries Marlin's vocals, gruff and despondent, yet eerily familiar. They warm, climbing and building into an incredible chorus, harmonious and somewhat smile-inducing. 'The Town's 80s-inspired synths back catchy lyricism, melancholia a wistful constant. Verses are broken by deep, evocative interludes, a reverberated sample drowning out the finish only to coax forth the next number 'Steve McQueen'. A tribute to the late and great American actor, something about the words hits home. A subtle, teary-eyed instrumental fluctuates between vocals as humbling as ever. The personification of death is wondrous, if nothing else. 'Lost And Found's overwhelming emotion and gut-wrenching builds are followed by 'Left Behind'. Its vintage guitar and wild west sense of loss and emptiness mark the end of 'Side A'.

The start of 'Side B' is 'Hymn To Disappointment', one of my favourite numbers on the LP. Contrary to its name, these three minutes are highlighted by their upbeat nature. Hopeful and reflective, the fast-paced build from 2:07 is fantastic, adding a great deal to the hook that follows it. The catchiest refrain on the album, it leads into 'Better', The National and their influence at its most noticeable. The 'Girl From Chelsea Bridge' succeeds 'Better' as the bitter-sweet reminiscence of a past relationship. Nostalgic and yet strangely content, the slow drum and soft piano of 'Heart Beat' are subtly different. A more immediate sound rests upon your ears, warm and relaxed instrumentation mooting a floundering romance. I think the next song 'Grand Central Station' is relatively formulaic, and therefore it washed over me. It isn't bad per say, but suffers from that spate of repetition I mentioned before.

The final track 'Travel The World' draws 'Man on the Ground' to a perfect conclusion. An illustrious and suitably gratifying number, Eleanor McEvoy swaps violin for vocals, forming a duet as heartbreaking as a hopeless fascination. Strings lament a loss, the lyrics telling of unwilling rebellion. It's a truly beautiful song, and a truly stunning finish to the album. It's a record that outdoes Marlin's debut in nearly every way, despite being just twelve months older. Varied in all its influences but consistently magnificent, hear a sample from 'Steve McQueen' below, then go and download 'Man on the Ground' from Marlin's website here!

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You might have noticed that this is the first post after a short and completely unexpected hiatus. Life seemed simply get in the way. Nevertheless, I apologise for not replying to any emails, the pile of which is now inexplicably large. Thank you to everyone for not unliking the blog in my absence, and for your graceful patience! You can expect a lot of reviews!

VIDEO// Peachcake: You Matter

2012-02-11T10:55:00.000-08:00

This will be the third time I have posted about this track on Music Dissection but what can I say? 'You Matter' is the opening number to Peachcake's EP 'This Wasn't Our Plan', and is absolutely fantastic. The video's playful nature reflects the summery carefree bliss that at this time of year seems but a distant memory. An interplay of synths, smiles and stunning pop sensibilities prevails, hooks and beats abound. Shot by the guys at Image Armory the film follows Peachcake as they shoot their own music video. It isn't as mind-bending as it sounds but instead offers opportunity for plenty of laughs, backed by a truly soul-warming tune! Be prepared to tap your feet and whistle along before streaming the film above, and if you live state-side, 'You Matter' premiers on the radio today, so check the stations here! If you like what you hear you can grab the full EP for free at Peachcakes Bandcamp page!

REVIEW// Chocolate Robots: P i Z z A f A c E

2012-02-11T09:01:00.000-08:00

If there was ever a record cover to catch your eye, this would be it. Batman and ice-cream and a frog all make an appearance on Chocolate Robots' cover for their second album 'P i Z z A f A c E'. A Canadian outfit composed of Matt, Mutt and Marco Giresi, the album's ten tracks were recorded via their fathers old tube and tape equipment, left over from his time as a 70s Italian singer songwriter. As if this band's backstory could not get any better it seems the three brothers work in their parent's pizza shop! Its almost too good to be true, but fortunately the Chocolate Robots live up to every one of my great expectations, crafting a record carefree and brimming with a psychedelic surf-pop sensibility worthy of acclaim. An innately irresistible image is conjured up, of three men completely content. Satisfied with life, an evening sun seems to wash obsolete the mere idea of sadness. Heartbreak and a certain amount of nostalgic reminiscence are explored lyrically, but are never in yearning! Rather, the instrumentation and execution of such lends the album an equilibrium, looking back at the past but never aching to depart from the present. Chocolate Robots' ability to recall events absent languish or lust is what makes 'P i Z z A f A c E so utterly magnificent!

An abstract daydream devised during long summer afternoons, the album opens with a fun and unabashedly immature number. 'Impossible Princess' runs through a few different sounds, the innately electronic playing off off-kilter drums and interludes of slow teenage melancholia. Vocal harmonies pop in and out amongst sprinklings of fairytale-inspired and smile-inducing sonic detail! It plays with an over-used lyrical theme, but Chocolate Robots manage to inject it with an eclectic and eccentric individuality, so much so it feels both new and yet spectacularly vintage. 'xxCross The Linexx's build from whimsical vocal quirks to a commanding and reverberated refrain-fuelled finish leads into 'Young Luff', a track similar to the opener in more ways than one. 'Funny Feeling's tangible Black Lips inspiration is a wonderful one, attenuated singing and a perfect chorus brushing a garage-rock sensibility with a light-hearted tone. The drum phrases and instrumentation are technically brilliant, a lone guitar bringing the song to a delightful conclusion. 'dumb angel's enigmatic musings make 'P i Z z A f A c E's halfway point an intriguing one, coaxing forth the second half well! A Barry Manilow influence seems to hide in amongst the verses too, which is phenomenal!

The sixth track on the album is 'Cotton Candy', a wistful number brimming with thought out lyricism. It lacks the energy needed to jump out at you but acts as a comfortable delay instead. 'Soul Shoes' rocks along, subtle chiptune melodies hiding beneath whirring effect and interesting compilation. The backing vocals here are particularly compelling, thrown into the mix to produce a track more definitively experimental. 'Ratical Powers' reveals and uncovers an interesting combination of electronic vocal alteration, lo-fi groove and crystal clear singing. Believe me it works. Easy comparisons to the Black Lips number 'Mr. Driver' can be made, before the captivating builds and stunning lyricism of 'Purrfect Sound' take hold. 'Summer Krushhh' closes 'P i Z z A f A c E', and does so with absolute ease. I tip my hat to these three guys, because I've had a blast with the record. Every strained note. All the charming vocal lilts. A seaside sample and a foot-stamping hook feel so adequate as a conclusion it really is unbelievable! Unique and authentic and undeniably enjoyable, go ahead and stream 'Impossible Princess' below before purchasing the full album over here!

<a href="http://chocolaterobots.bandcamp.com/track/impossible-princess">impossible princess by Chocolate Robots</a>

INTERVIEW// Frid

2012-02-10T10:04:00.000-08:00

After reviewing and loving Frid's EP 'Serving Time' I was thrilled at the opportunity to throw a few questions his way. Born in York and based in the Manchester, Frid's down-to-earth nature has resulted in a fantastically unpretentious and unassuming interview, revealing a man humble and honest and quietly aspirational. "An introspective and passion-fuelled lyrical conquest", his debut EP set about laying foundations for an undeniably long career in hip hop and one Music Dissection will be following all the way! Read the interview below and check out the EP afterwards. Thanks to Frid, and the team at Wenlock Music for making this interview possible and for executing it in the most graceful of manners!

Music Dissection: First lets get the usual questions out of the way! How did you get into the music industry, and who or what inspired you to do so?

Frid: I have written poetry since I was at school and it's pretty much the only thing I enjoyed about school. The poems started becoming a little 'edgier' the more that went on in my home and personal life and without even realising, when I started getting more and more into Hip Hop, they naturally started becoming more like bars with a hip hop influence and it snowballed from there, really. My whole life inspired me to start writing verses and songs and then, later, recording them. The people around me in everyday life continue to inspire me. My little girl is only 8 months old and she is why I do this mainly. When I'm in the studio and start feeling tired, or frustrated that I'm not hitting a verse correctly or whatever, I just think about her and remember that I'm doing all this for her, and things seem to fall back into place again. She's a massive driving force. I just keep working to make sure that when she's 18 she is like; "Yeah, Dad made some awesome tunes when he was younger", rather than "That's properly fucking embarrassing!" [laughs]

MD: Would you say those inspirations influence your work? If not, who or what does?

Frid: Oh, without question. I mean, there is so much personal content on the last EP, that it's pretty much an audio autobiography, just, in reverse chronological order - which was intentional, by the way. There are so many references in the content of that project to things that have played a massive part in me becoming the person that I am, that it's pretty impossible to say my inspirations don't influence my work. Maybe they do a little too much sometimes, but I'm a passionate person and I wear my heart on my sleeve, so I have no problem with being 100% honest in my music. It's the way I vent, and sometimes things happen to me in my life and I'm like; "okay, if I don't speak about this, I'm going to go insane". I like that people find it easy to relate to elements, too. I got a tweet the other week from a fan who is having a hard time of things and she said that my song 'Hold On' was a real inspiration to her at that point and that it was helping her stay strong for her little girl... that kind of thing means more to me than any album sale, any money that comes my way, whatever. That there is real life stuff, and to be reaching someone on a level like that is incredible.

MD: Who are you listening to at the moment?

Frid: Well, I know this is going to sound stupidly self-obsessed, but I'm listening a lot to myself at the moment. Inbetween every project, I leave the project for 2 or 3 months and don't listen to it once, and then come back to it and listen solidly for like a month. That way, it's easier to spot where I maybe could have done something a little better or how I'm going to improve on things and expand as an artist for the next project. I know roughly where the next project is going already. I'm also listening to things that are in the works still; my guest spot on my mucker Uppacut's new album, etc. I've been honoured enough to have been played some of the new music he has coming, and people do not want to miss out on it, because it's ridiculously good. Aside from stuff that I'm involved in, I've recently re-ignited my love affair with 3 Doors Down, who are one of my most favourite bands ever. I never know how to answer this kind of question properly though, because I listen to a lot of stuff really.

MD: What are your plans, album-wise?

Frid: Well, The 'Serving Time' EP still needs promoting, and we are about to start filming for the videos for the singles from that, so there will probably be 3 singles to emerge yet. I've got a collaboration project with 7 Deadly from Grand Rapids which I've recently started working on, but that might take a little while because we want to make sure that we make the most of both the UK and US elements and approach it right. More immediately, I'm already working on a new, shorter EP which I intend to be the closing off of the Serving Time EP - almost the credits to the movie, if you know what I mean? Also, myself and Uppacut have started work on a joint EP which I think will probably be ready to drop around the half year point of 2012. I've been writing for it properly for three weeks and there are already probably four keepers in the locker. I'm starting to get very excited about that. Of course, Music Dissection will be the first to know about it, because you are so ontop of the game. In fact, I was shocked to hear you ask me, rather than already know before even I did! [laughs]

MD: We at Music Dissection loved your EP 'Serving Time'. Are we going to hear an evolution from that passionate and very immediate sound in the future?

Frid: Thank you, it was certainly an incredible and overwhelming review. Erm, [pauses], no, you're never going to hear me move away from a passionate approach, because I have too much passion for what I do. I mean, I could write a song about something completely fucking random, and it would probably be garbage, but I write about things that I love, so I have no choice but to pour everything I have into it. That said though, you will certainly hear an evolution with the Frid and Uppacut release, and maybe even slightly more so with the Frid and 7 Deadly release, because I've upped my game lyrically. I was talking to Uppa about this just a few days ago, and we're both keen to try a couple of 'experimental' things with the joint release, and I'm learning more about actual song construction, not just song writing. You know, more how to actually compose a piece, like, normally I might say "right, there's the verse, I'm happy with that, so we go into the chorus" but now I'm looking at a bigger picture and rather than just going with it, I'm assessing it like "Hmm, maybe we don't just go into the hook, maybe this is a bridge section?", you know what I mean? Maybe I haven't explained that very well, but either way, there is certainly an amount of evolution, but my fans don't need to worry about me 'doing a Black Eyed Peas'... I'm hip hop now, and always will be.

MD: Are there any new ideas, lyrically or musically, that you want to explore in the future?

Frid: Yes. but I don't really want to tell you what they are just yet because a lot of ideas I have sound amazing in my head, but actually, in reality, are really terrible. But, you'll hear the final product of the better ideas soon enough, of that I assure you.

MD: Is there anything on your EP that you dislike, or would like to change given the opportunity to revisit it?

Frid: No, not dislike. Never. I'd have scrapped it before it saw the light of day if that were the case. The only thing that I do wish, is that I had maybe been in a position to do it to that standard a few years ago, because, I truly believe that I'm the sharpest I've ever been now, and I can only improve from here, but it concerns me that I should maybe have been hitting this place two or three years ago, because there is going to come a time when I can't or won't do this anymore, and there is so, so much which I want to get off my chest and get out there that it's untrue. I can't rap forever, which is why I work so hard - I'd never be able to forgive myself if I got to 60 and thought; "Bollocks! I meant to try and tackle that such and such topic!"

MD: Flipping that on its head, what was your favourite moment recording 'Serving Time'? A collaboration you particularly enjoyed?

Frid: Wow, that's a massive question. Um, there is a hell of a lot about the EP that could be placed in the category of 'favourite moment', but there are a few stand outs. When we recorded 'Dear Daddy', I sat in the studio listening back to the vocals for the first time, and for the first time heard all the elements in one place, other than my head, and I just started to well up and got more than a little choked up. That song is 20-odd years of pain that I've never spoken about in the wider audiencce, and it took a lot for me to get it down on paper and then even more to put it out. But I knew that when it was, that particular subject in my life was boxed off that little bit more - never forgotten, but could be put to one side now. I think one of the other favourite moments was during the recording of 'Set it Off'. I ripped through the third verse and just stood there almost in a trance, like a fighter psyching himself up, the adrenaline was flowing big time and I was taking a minute to bring myself back. Then I heard the sound engineer's voice through my headphones and he just said, "Frid, that was a little bit special. you've found your sound...". I knew then we were onto a winner. As for collaborations, probably everything I've done with Uppacut. He and I bounce off each other so well - you know, we like the same music, similar artists, similar sense of humour, we're from the same City, his kids play with my kid etc, and that makes a massive difference to the music. Everything just feels more natural, and we're in a position where if I send him a new track, or run an idea by him or vice versa, we're comfotable enough with each other to just be like, "no, that's really wank mate", and that helps the music be the best it can be.

MD: What are your aspirations?

Frid: To be respected by my peers and to continue to be creative. I don't neccessarily want a huge fanbase and the riches of stardom - although I might not actually turn that down if you offered it to me - no, to me, the respect of peers and fans from keeping my musical integrity is the most important thing. That, alongside continuing to grow and push myself are the most vital things to me.

MD: Finally, we're very fond of the question: If you weren't an artist, what would you be and why?

Frid: I'd be what I am now - just an ordinary, working class guy. I'd still be my baby's Daddy, I'd still go down the pub once in a while to watch the football, I'd still get excited over stupid stuff like the release of the new FIFA every year, I'd just be 'Steven' on a full time basis. I'd actually like to think that if I wasn't behind this microphone, I'd be behind a different one, doing what you do, reviewing music and interviewing artists... I'd like to think I'd still be involved in music somehow, because, simply, I love it too much to not be. And I hope that comes across in my music to the listener, because it means a hell of a lot to me!

Find my original review of 'Serving Time' over here, and the nine-track EP itself over here!

VIDEO// Exlovers: Starlight Starlight

2012-02-05T08:22:00.000-08:00

I posted this outstanding track back in November, and I thought I summed it up pretty well! Read my quoted review below and keep an eye out for Exlovers forthcoming album 'Moth'! The video is a compilation of nostalgic clips sewn together with heart and an innate sense of love and passion and perhaps more profoundly, a tear-inducing feeling of sadness and loss. The realisation that times when you felt truly happy might someday fall from memory!

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Exlovers. A London-based quintet. Four guys, one gal and just some seriously blissed out bedroom pop, lathered in shoegaze sensibilities, sweeping symphonies and humbling lo-fi charm. I was emailed 'Starlight Starlight' by two separate people, and I wasn't dissapointed with what I found! The first track from their debut album, it's currently being given away for absolutely nothing at all, so it's a delightfully easy reccomendation for me to make. Kicking off with some furiously summery drums, riddled with mellow vibes and bathing in that pool of satisfaction we all wish to find, Exlover's singing slowly emerges. The combination of the male and female vocals is a technique not unknown to the indie-pop outfit, but it seems on 'Starlight Starlight' that such harmonies has been perfected and an edge refined. Original.

VIDEO// Field Mouse: Glass

2012-02-05T07:48:00.001-08:00

We covered and praised Field Mouse's track 'Glass' last month, but raise your hands in a fit of joy, for the official video accompaniment has dropped. Contained within an email was also a February 28th release date for the Brooklyn band's forthcoming 7" 'You Guys Are Gonna Wake Up My Mom', which, taking into account the fantastic quality of 'Glass', looks set to stun. The video itself consists of one long cut of Rachel Browne's decidedly pretty face being buffeted by tinsel and bubbles and wind, but I am not complaining! Stream the four minute video up above and then check out our coverage of the brilliant number here!

VIDEO// Gel Roc: Why's Are Real

2012-02-05T05:53:00.000-08:00

The seventh track and third video from Gel Roc's LP 'Beautiful Tragedy', 'Why's Are Real' is a retrospective look at a relationship that broke down. Switching between colour and an attenuated grayscale, something innately soothing emerges from its nostalgic air, telling a story and stitching together the tear of a broken heart. Gel Roc's vocals carry aggression and passion in equal measure, lending the track and music video an honesty and human emotion worthy of admiration. Stream 'Why's Are Real' above and check out my review of that LP 'Beautiful Tragedy' (which is an outstanding, and extremely gratifying listen), here!

REVIEW// 1929indian: The Dreaming EP

2012-02-03T12:32:00.000-08:00

Australian quintet 1929indian recorded their debut EP 'The Dreaming' back in June and are all set to let it out upon the public! Five tracks and twenty minutes of unrestrained genre blending, its an EP that takes note of a number of sonic sensibilities, compounding them into an effort unsurprisingly unique in its execution. A New Wave ethos prevails, post-punk subtleties twisting from its complex and cascading pop-rock aesthetic. An experimental air hangs about the release, emulated by the band's ability to merge it with an accessibility often sorely missed by many on records that carry the label. The result is an EP that retains the catchy essence of pop, hooks and refrains abound, but perfects and refines it with scope and imagination that while not revolutionary, feels brilliantly fresh and admirably individual! Recorded with producer Dave Hammer, who worked with the fabulous Die! Die! Die!, there is an accomplished balance here between both an immediacy and nostalgic retrospection. It is an incredible emotional reminiscence, powered along by passion and technical ability!

Opening with 'North into the Sky' and a solid chord progression, 1929indian slowly build upon that initial reverberated guitar melody, bass and vocals and attenuated drums falling into the mix. Surreal singing relays lyricism that muses the uncontrollable nature of love, a fantastically blue tone lending the track a forlorn and gloomy aroma. A climactic finish lead on from a memorable refrain, throbbing and growing before dying to a strong and glorious conclusion. Noticeably more upbeat, 'Women in Cages' follows, drum phrases pleasant in their technicality. Beats and keyboard synths throw an electronic twist in 1929indian's path without steering them off course, a suitably epic end leading blissfully into '0.1Lux'. Darker from the off, the vocals are at their best here. Backed by a steady beat and stunning keys that give the whole song something innately intriguing, I can't help but love it. The chorus is swamped by a guitar that harks back to an age forgotten by many. Dripping in reverb and refracted by an ethereal abstraction, that hook remains, persistent in its resolve. One layer after another of vocals flit between foreground and background, forming a scape too beautiful not to explore. The relatively short 'Six O'Clock Swill' endeavours to follow in its predecessor's footsteps, proceeding with a heavier electronic sensibility. A rebellious and outstanding penultimate number, prolonged notes and sinister lyricism made me shudder!

The fifth and final song doubles as the title track, leading the EP to comfortably brilliant completion. Immediately deep and strangely soothing, a militaristic drum beat supports a set of vocals similarly profound. Built up into a Florence and the Machine-esque harmony, powerful and evocative and yet still intrinsically danceable. It's a chilled out finish to an EP that sets my anticipation for 1929indian's debut full-length extremely high. 'The Dreaming' however has placed within me a confidence in the Australian outfit that will not be quelled! I suggest streaming '0.1Lux' below and heading to the SoundCloud, to hear the EP in full!

REVIEW// Lana Del Rey: Born to Die

2012-01-30T12:12:00.000-08:00

Elizabeth 'Lizzy' Grant dropped her debut LP 'Born to Die' today to the anticipation and criticism of many. A release surrounded by waves of controversy and built at its core around one stunning number, 'Born to Die' has had me hopping from foot to foot for a while now. I have been an avid fan, ever since the sublime 'Video Games' fell into my line of sight. That numbers vintage sensibility hit a nerve with everybody, the melody and chord progression flying straight and true in a manner so incredibly touching and profound it shot Lana into a truly unanticipated limelight. 'Video Games' mused with human articulation the surreal and delicate nature of fame, soaring instrumentation falling into an ear-grabbingly despondent groove that explored something that hadn't really been explored before. Lana Del Rey, an artist who had previously failed under the name Lizzy Grant, had recorded something of a modern classic, and unfortunately from this emerges her ultimately disappointing downfall!

'Born to Die' feels forced. It seems to have been pushed out before the fiery hype that surrounds Lana died down to an unprofitable smoulder, resulting in an LP that lacks any refinement, depth or emotional substance. It tries hard and succeeds in part, but overall this doesn't work at all. The strings on every song bore, reducing the few good lyrics to an over-produced and cliche set of words, void of meaning and unreflective of the DIY ethos emulated by 'Video Games' and its video accompaniment. Lyrically Lana takes boring and unimaginative themes and does nothing with them. Sex, bad girls, drugs? You can find all of these and more thrown onto 'Born to Die'. My previous praise for Lana faltered like the miserable face on her cover. She does a few nice things with baroque pop musically which I admire, but everything else flows through one ear and out the other, lacking personality interesting enough to stick. Awkwardly it aims, for vain and fickle and limp radio coverage!

Take one song from 'Born to Die' and you've heard them all. The need to be the subject of male desire leads to an almost unbearable and sexist aesthetic I cringe at hearing. The fourth track 'Diet Mountain Dew' fails to ignite any of the upbeat catchiness it tries to, with the following number 'Million Dollar Man' dragging out like the threads of a vintage jumper. The vocals on every number here are technically stunning, save her attempt at rapping. I just fail to connect with them, which is incredibly frustrating. 'National Anthem's refrain and truly shocking lines: "Money is the reason we exist / Everybody knows that it's a fact / Kiss kiss" aren't worthy of mention, unsurprisingly sad and unable to crack anything other than an ugly, fake smile. The old-fashioned and unbelievable line of 'This is What Makes us Girls' goes "This is what makes us girls/ We don't stick together 'cause we put our love first", which immediately puts me off. Goofy singing goes on to tell women everywhere to put up with the absence of love: "Don't cry about it"! After 'Video Games' I'm wondering at which point it all went wrong. It's empty, arrogant and ostentatious, and I am just not a fan!

People criticised Lana Del Rey, branding her as fake and manufactured and disgustingly opulent. I stood by and defended her every effort, and indeed the first four tracks here do work to a degree. Put them amongst songs that offend, and spout the most boring, cliche phrases imaginable however, and even those lose their shine. Over-produced and absent any emotional bond between artist and audience, I feel innately disappointed with 'Born to Die'. For all of its swooning and crooning, the LP is just an obnoxiously fabricated musical lie. Stream 'Video Games' down below and then grab the full album via Amazon over here.

VIDEO// Algodón Egipcio: Los Temas Turbios

2012-01-29T12:50:00.000-08:00

Venezuela's Algodón Egipcio dropped this neat video a couple of weeks back, for the four minute number 'Los Temas Turbios', which translates as 'The Murky Issues'. Sang entirely in Spanish, I can't hazard a lyrical interpretation for fear of misplacing your understanding! Needless to say, the electronic waves of nostalgia and constant underlying rhythm relay a tale all their own. Initial whirrs and glitches lead into a comfortable groove, resounding and low and soothing. The vocals reverberate across the deserts of America's Nevada, telling of discovery and maturity and the incomprehensible thoughts of a man without a future. A sense of ambiguity helped by Egipcio's native tongue prevails, spates of sadness broken by interludes of euphoric exaltation and instrumental melancholia. An apt fade-out closes 'Los Temas Turbios', his singing dappled in the unbidled, hope-fuelled glare of a newborn sun. The film is composed of 1960's clips by Broken Machine Films' infallible Josh Rogers!

MP3// SPECTACLES: Pills In

2012-01-29T11:45:00.000-08:00

We covered SPECTACLES a while back, when he sent over his track 'Babygurl'! A couple of weeks later and here we are again, this time with the dark electronic trance that is: 'Pills In'. Five and a half minutes of fluctuating, reverberated vocals, murmuring disturbingly into the unfathomable abyss of their artist's mind. The hypnotic beat flits from tempo to tempo, unsure and surreal and strangely somnolent in its synth-fuelled slumber. Explosions of an almost unreal nature explode from the gloom, lighting the contours of this nightmares cold facade as unholy voices echo away from it. Stream 'Pills In' and fall into the narcotic haze!

REVIEW// First Aid Kit: The Lion's Roar

2012-01-29T11:13:00.000-08:00

First Aid Kit are a folk duo composed of Johanna and Klara Söderberg, two sisters from Sweden. 'The Lion's Roar' is their sophomore album, after 2010's fantastic debut 'The Big Black & The Blue'. Famously difficult to pull off, the siblings have recorded a second LP that is packed full of emotion, and improves on a multitude of elements that I loved from their past releases. The two women have thrown a number of new instruments into the mix, strings and horns and piano and pedal-steels all joining the acoustic guitar, drums and auto-harp on these ten magnificent tracks. However many evolutions the instrumentation goes through though, First Aid Kits vocals will always be their best selling point. Pitch perfect and always tight when it comes to harmonies, the singing on 'The Lion's Roar' resonates with a weight not many can match. Reflective of the album art, there is that natural beauty folk music is forever striving to find, layered into a subtly surreal amalgamation of crooning, emotionally mature songs that pluck your heartstrings like the taut wires of an ethereal instrument. An insignificantly small number of complaints show up, but none shall bar my frequent return!

The title track opens the album, a melancholy vibe vibrating through the acoustics and an innate strength emerging from the vocals. The harmonies are so close, varying in pitch and tempo but never in quality. Slower moments hit the spot perfectly, the rebellious, Bob Dylan esque lyrical passages deep and moody and quietly profound. Its captivating to say the least, and leads excellently into 'Emmylou'. A four minute track of personal proportions and the boast of a sigh-inducing refrain make it one of my favourite numbers on here. You can almost taste salty tears as the singing trails off after every line, hitting beautiful notes! The instrumental on 'In The Hearts of Men' lends the truly climatic four minutes an air of sublime solemnity. The beat and build half way through are stand-out moments on the LP, a piercing whisper hitting home at the apex of such attenuated an ascension. The groove on 'Blue' is similarly well-executed, and the tale of loss relayed in 'This Old Routine' is one of almost overwhelming sadness. My small complaints however arrive with the second half of the album, though as I've mentioned, they hold no substantial barrier before your ears!

The refrain of 'I Found A Way' sounds surprisingly like the hook of 'Emmylou', though a fantastic set of lyrics and throbbing sincerity on 'Dance to Another Tune' makes up for this lacking individuality. The instrumentation on that track is also awe-inspiring, soft interludes of violin and harmonies soaring in a manner so shudder inducing even despite it dragging on for a little too long. That being said, the overriding element to 'The Lion's Roar' that in my opinion prevented it from becoming a classic was the instrumentation on a few tracks. I found the auto-harp on 'New Years Eve' ear-grating, offset only by the gorgeous vocals. A lack of personality and uniqueness from the instrumentation on a number of other songs just passed me by, failing to ignite any of the power and urgency you get from the singing and songwriting skills from these Söderberg sisters. Sometimes the two match, but often a sense of uninspired misplacement detracts from the tracks, even if only by a little. Overall, nothing is going to stop me reccomending or returning to 'The Lion's Roar', but it stops a little short of being utter perfection on account of the arranged instrumentation. Hear that commanding title track below, then I urge you to purchase the full release via iTunes here!

REVIEW// New Addiction: New Addiction EP

2012-01-28T08:57:00.000-08:00

Israeli rockers New Addiction and their eponymous debut have been lying within my inbox for a while now, the stack of emails currently sporting dimensions of an inexplicably abhorrent nature. Crushed below the most ungainly of weights, New Addiction lay, their EP fearing the cavernous incline of my trash-can's gloomy ravine! Luckily however the weekend's catch-up session came and these six tracks exalted. On hitting play I was hit in the chest with not surprise, but rather an innate sense of personal disappointment. For New Addiction's EP is glorious, and my readiness to sentence it to soundless void and silent vacuum opened up an unfathomable nadir beneath my feet. Fuelled by grunge rock sensibilities, this EP is an incredible one, no-nonsense riffs and pounding drums backing vocals bred for rock 'n roll! Soaring anthemic refrains and stunning guitar solos race across perfect production, tonal waves swelling through the EP with ease. Builds and climaxes are executed with rebellious magnificence, throbbing and euphoric and, while not revolutionary or experimental by any means, wondrously refreshing. Sometimes you just need some strong rock tunes, and this EP and its creators are more than happy to oblige! Intelligent complexities accumulated in a release as powerfully compelling as any album of recent years? New Addiction are here!

Opening the EP is 'Red Eyes', epic notes and awe-inspiring harmonies utilised to great effect. Layers of vocals compliment the steady beat and lyrical badassery, sonic details a conscious inclusion that flit brilliantly between your headphone channels. A squealing solo runs into an almost overwhelming hand clap/drum beat before the intricate, elaborate end leads into 'Underwater'. A softer story written with a blues-infused guitar contrasts the first track fantastically, naturally evolving into something more mature both lyrically and tonally! 'Sky's pulsating bass and keyboard synths are the flawless backdrop to a simply faultless performance, 'The Wave' a worthy successor to its graceful grandeur. A darker shade is a prevailing element, classic-rock guitar phrases riding atop it with well-deserving flourish. A reverberation lends the track a retrospective scope so vast and boundless it takes a while to fully comprehend. The sublime guitar solo evokes a stomach-clenching passion hard to deny! The mechanical, industrial vibe of 'Forever' follows, a stomping rhythm reflecting its determination to be remembered. Loud, aggressive and complex, metal cogs grind and an inordinate amount of destruction ensues. Your heart pounds so hard your ribs threaten to split, and I loved every second I endured such an enfilade! A penultimate paragon indeed!

Opening with the layering of riffs, 'Belong's prolonged notes and pacey aesthetics are a suitable conclusion to this inconvievably arresting release. Their assured confidence is both striking and befitting of an EP that radiates passion and practise and talent. As New Addiction's debut EP, and in contrast to its intial rank within my inbox, it's now I who seems to be crushed. Buckling under the weight of anticipation, my praise is perhaps illimitable? I couldn't find a purchase link, but hear the EP and like these four guys on Facebook here!

MP3// Kids On Bridges: Check Your Head

2012-01-25T11:48:00.000-08:00

If there was ever a track to get you up and dancing, 'Check Your Head' has just outranked it! A self-proclaimed 'dirty filthy electro pop' duo, Kids On Bridges dropped this romp of an episode upon their SoundCloud a while back. Taken from their single 'This is Widescreen/ Check Your Head', which drops on February 20th, these four minutes radiate the carefree disco mentality the 70's were proud to have provoked. I'm not a huge fan of vocoders and at points they are too prominent in their utilisation here, but the easy falsetto and boast of a dual refrain make up for this small complaint! High hats and funky electric guitars create retro soundscapes that seem to pulsate with the dance-moves of many a party-goer, and I will admit I lost all control over my feet as I listened! Synthesisers also add to the throng to make an already irresistible number somewhat of a phenomenon, and one easy for me to recommend to you! Stream 'Check Your Head' in all it's blithe electro-pop sublimity above!

REVIEW// Cardinal: Hymns

2012-01-24T11:34:00.000-08:00

When I first heard Cardinal's eponymous debut I was pleasantly surprised. Released in 1994 to the ignorant ears of many, it threw a chamber pop sound out into a world that didn't quite know what to do with it! Perhaps it was this sense of rebellious ingenuity that made this duo so easy for me to love. Eric Matthews and Richard Davies made up Cardinal and now, after an almost two decade split the group have reformed to bring us their sophomore album 'Hymns'. Unfortunately, what was an incredibly fresh sound has gone off in the sun ray that once kissed it. The group's relevance and innovation has waned over their eighteen year break, a period within which the likes of Belle and Sabastian and The Clientele have gone and recorded some fantastic albums. Cardinal were fooling themselves if they thought the release of an LP, that hasn't evolved much at all, would reinstate them on the pedestal of breezy, vintage sounds that were so original a relatively long time ago! The opening track 'Northern Soul' built my anticipation to a stomach-churning level, only for its bumbling and aimless successors to knock it down. Abundant warm production and summery vibes are far from ear-offending but the tenuous, anemic nature of nearly every song make 'Hymns' simply pointless. The buoyant brass of the opening number turns into annoyingly arrogant embellishments which add nothing save the throbbing oncomings of unavoidable boredom and a subtle, niggling headache. 'Hymns' is so innocuous in every other way that it barely registered with me upon my first listen, the tracks merging into a sonic confusion as they flow into each other aimlessly. In the end I'm left thinking I should've stuck with their debut!

In all seriousness, Cardinal haven't audibly changed their sound from 1994, which is a major flaw. Their eponymous debut clicked with me because it was something new, and in many ways 'Hymns' manages to detract from that album! Boring and bland, nothing within these ten tracks can maintain any sort of hook or catchy melody. Feeble vocals and a set of unmemorable lyrics leave you with a taste in your mouth you would sooner forget than endure again. I doubt Cardinal will gain any contemporary followers after this, but a few of the duos older fans may find it in their hearts to purchase 'Hymns'. Personally I will not be! Stream 'Love Like Rain' below and, if you feel the urge, buy the full via Fire Records here!

VIDEO// Spakkiano: Macadam

2012-01-22T08:08:00.000-08:00

This bizarre video for Spakkianos 'Macadam' is taken from the British Governments Public Information Films collection, and accompanies a suitably bizarre couple of minutes! Hailing from Bologna, Spakkiano's wide-eyed and playfully sparse sensibilities are the soundtrack to determination, provoking not only a sense of absorption but an innately sad loneliness! I watch our protagonist struggle with a road and I see a man whose mind has regressed. A look of child-like frustration plucks at my heartstrings, nostalgia riddled with laughter as an inexplicably funny theatricality makes me chuckle, the percussion tossing my emotions up and down in a manner quite unnerving! Its a wonderful track, so stream 'Macadam' above!

MP3// Kate Havnevik: Mouth to Mouth

2012-01-22T06:22:00.000-08:00

Kate Havnevik's latest track 'Mouth to Mouth' is haunting in its ambient electronic pop. Her vocals are undeniably stunning as they relay lyricism co-written by Guy Sigsworth, and as the chorus comes into view, your mouth cannot help but fall open, helpless and amazed. A dark undertone throbs beneath the still water, surfacing as the prolonged notes persevere and as Havnevik's yearning threatens to overwhelm her. Subtle dubstep sensibilities keep to the back of the song, reflecting Kate's pounding heartbeat and determined disbelief. An incredible whispered phrase makes you shudder, before once again that chorus grabs for your heart and fills it with an innate, immeasurable sadness. This Norwegian has crafted a track fueled by emotion and a truly extraordinary passion! Stream 'Mouth to Mouth' above and prepare to swoon before Kate Havneviks sensational magnificence. I promise you will!

MP3// Heidi Mortenson: Dele Af Kroppen

2012-01-22T03:44:00.000-08:00

Heidi Mortenson dropped 'Dele Af Kroppen' early this month, as the first track from her EP 'Mørk'. It's set to drop on March 5th and marks a noticeable change for this Scandinavian! Utilising her native Danish for the first time, Mortenson's vocals retain this strange, surreal sensibility, that lies attenuated under a layer of subtly melodic reverberation. Electronically charged phrases whisper and whirr below stunning horns, their every breath billowing with icy persuasion into this cold January morning. To even try to fathom a lyrical interpretation would be rash on my behalf, but the sense of a deeper, almost mythological muse is easy to conceive. Heidi's singing is mature, supported by a fabled understanding that holds the weight of an empyrean, primordial truth. A tale of monsters and faith and heroes seems to materialise from the sonic shore, dripping in nostalgia and an illustrious immortal allure. A beautifully understated finish ends 'Dele Af Kroppen' as well as it had began, the warm of the five-piece horn section prevailing in its persistence to remain in your head. A fantastic number indeed, hear 'Dele Af Kroppen' up above, and look out for the EP 'Mørk' in March!

VIDEO// Strangers: Shout (Tears for Fears Cover)

2012-01-21T07:31:00.000-08:00

Tears for Fears dropped 'Shout' in 1985. The chorus has since been ingrained upon the world's collective musical memory, endearing itself as one of the 80's most successful pop songs! Strangers are the latest band to record a version of this infamous number, an epic anthem emerging from their efforts. Electronic melodies whirr and glitch atop a subtle beat that carries every second with effortless ease. The vocals seamlessly match the music, an incredible reverberation bouncing between the walls of a cavernous sonic space. A worthy cover of this undeniable classic, Strangers' version of 'Shout', can be streamed up above!

MP3// Ouisa Hound: Gloom Roaming

2012-01-20T15:52:00.000-08:00

Writing up a post late at night is surreal. The quiet envelops you, as the hypnotic tapping of your keyboard details the usually unnoticeable hum of your old computer. Ohio’s Ouisa Hound dropped 'Gloom Roaming' a month ago, as the ultimate track off of his forthcoming album 'The Joy Eclectic'. It provides a soundtrack to my musing, a euphoric contemplation of life that builds and grows as layers of sample and emotion and cosmological truth mull over the glorious and unparalleled mortality of man. As a wistful melody plays you hear an almost dream-like set of sounds. Fountains trickle and birds chirp. A sun shimmers and a soft breeze blows. Ethereal vocals hum and sing with every grace. A vast expanse of land stretches away as your bare feet lift away from the grass and all of its caressing fingers. A desire to run takes hold, the knowledge that your life is finite urging you onward, to strive for happiness. 'Gloom Roaming's beat matches the pulse of your heart, guitars and synth providing ample inspiration to follow in the pursuit of happiness. For to be happy is to live!

MP3// SBTRKT: Atomic Peace

2012-01-20T14:46:00.000-08:00

This 'new' track from SBTRKT has been floating around the blogosphere through the day. I've put the word 'new' in inverted commas, because 'Atomic Peace' was actually recorded three years ago, when Music Dissection was a mere thought swirling around life's cosmos! A remix/edit of Mum's 'Flow Not So Fast Old Mountain Radio', these four minutes precede everything I've heard from the London producer. An historic catalyst, we can see the start of SBTRKT's career, unveiled bit by bit and built upon by every glorious synth. Raindrops collide with reality, a surreal melody playing out their oh-so-significant death. Complexities shudder and swell without need for recognition. Sometimes you can hear voices, chatting below the warm beat and throbbing bass line. Tinkles echo and hide in the track's shadow, unifying the work with utter perfection. It is well-deserving of your time, so stream it above! Heck, I could sit and listen to this on repeat for days! It's relaxing chillwave at its very best!

MP3// Sleigh Bells: Comeback Kid

2012-01-20T12:44:00.000-08:00

Sometimes I have to pinch myself and think. Sleigh Bells only have one album out, and yet their music is posted all over the Internet! I certainly didn't find that debut stunning at all. A messy and unrefined musical barrage, their initial, primal sound clawed at my ears. 'Reign of Terror' however, seems to hint at a sonic evolution worthy of exploration. 'Born to Lose' grabbed my trepidation to listen last month and tore it apart, brutal drum machines and an incredible set of furious guitars emulating a better, beautifully complex ethos that I found lost on their first album. Swamped subtleties emerged from the depth, and 'Comeback Kid' continues to run with this new aesthetic. Pounding electronic synths and beats crash into Alexis Krauss' infectious ethereal vocals. The chorus here is perhaps too sparse, but then it does allow for interludes, between the spates of noise-pop conflict that bloody the sand! Keep your ears pricked for 'Reign of Terror, which drops on February 21st on Mom + Pop!

VIDEO// Bleached: Searching Through the Past

2012-01-20T11:50:00.000-08:00

Bleached are a Californian duo, with three 7" records hanging from their belts. Apart from that my knowledge of these two women doesn't stretch very far! They both resemble Drew Barrymore in the video for 'Searching Through the Past' but I doubt that facts importance! Taken from their latest release and dropped nearly a fortnight ago, this video captures a sense of wonderful independence, Molly Schiot-shot film clips oozing a vintage sensibility! As the two women gallop and guitar-strum their way through the wild west, we long to join them. The glaring sun seeps into the footage as their gorgeously understated vocals rock along. They yearn for a lost lover in a manner so brilliantly hopeful, you can't help smiling!

VIDEO// 8 Year Old Juliet: My First Hardcore Song

2012-01-20T10:47:00.000-08:00

Sometimes Music Dissection is perhaps too serious, but we like having fun as much as the next blog! This catchy, and unbelievably lovable video dropped onto Youtube yesterday, and we've being rocking along to it ever since. Written and produced by Rob Sharpe, and performed by the ever-fantastic Juliet, 'My First Hardcore Song' is well, exactly that! Brutal riffs and pounding drums back Juliet's story about her dog Robert and her pungent fishes. It's both hilarious and surprisingly err, good! Stream it up above and kick off the weekend! Also, videos will be bigger from now on, because Music Dissection reckons you deserve it!

INTERVIEW// Richard Walters

2012-01-19T09:51:00.000-08:00

A few days ago I reviewed Richard Walter's EP 'Young Trees', a collection of tracks worthy of my unprecedented, incomparable praise. The five numbers recall the loss of happiness and Walters' determination to recover from the deprivation of such. It's humble and honest and truly heartfelt, a retrospective yearning pulling the songs into harmonious unity. Given my unparalleled adulation for 'Young Trees', I jumped at the chance to throw this talented Oxonian some questions! Read the interview below and find a link to my review at the end of it. I'd thank Richard Walters, for enduring our following dissection with the utmost grace!

Music Dissection: How did you get into music? Who inspired you to do so?

Richard Walters: I started playing guitar in a band at school called Odd? when I was about 13. We were playing Supergrass and Oasis covers, and not very well. That's around the time I began toying with songwriting, little two minute things. I didn't find myself singing until around 16, and even then I wasn't sure how to present myself. I had that ridiculous artistic awakening that happens to teenagers when the hormones kick in - I discovered poetry, books and obscure indie music, and thought I was the first person in the world to really get it. I guess everyone does that, everyone has had that moment of discovery and built on it.

MD: On your Facebook page, you filled in the information for record label with 'Why?' What are your feelings towards being signed?

RW: I've been signed and worked with two major and one indie label - the problem was always that I would write what I thought was a real treasure (in fact 'Regretless' from the new EP is one of those tracks), a song that you have so much faith in; you bowl into the label office, play it to your man and he says 'hmmm, yeah - it's not a single is it, bit meandering' and it's shattering.

MD: You are in the process of writing your third album. Are we going to hear an evolution to your previous sound? Are there any themes lyrically or musically you want to explore more in the future?

RW: I've worked with a couple of personal heroes for two songs on this record, so a new collaborative element adds something to the whole. The poet Simon Armitage wrote the lyrics to one track, and the singer and producer Joe Henry for another. It was so exciting to have that opportunity, to build bricks on someone elses foundations. Sonically I think the album is a lot richer sounding, more gospel almost, and a majority of the tracks are piano based now.

MD: Who are you listening to at the moment?

RW: The new Ryan Adams record is just beautiful. I Break Horses are also getting many many plays in the house. My girlfriend bought me a lovely vintage record player (with a small built in speaker) for Christmas, so I've been blasting 'Darkness on the Edge of Town' by Springsteen, 'Red Letter Day' by Buffalo Tom and 'Happy/Sad' by Tim Buckley lots.

MD: Your songs have been featured in a few television programmes. Did you ever imagine your music would become this popular? Have you any aspirations for the future?

RW: I find it ridiculously exciting to see one of my songs placed - it makes it feel solid and big. Just knowing millions of people have been tricked into hearing my song...I just hope it sticks in peoples heads when the shows finish. I haven't had a song used in a feature film yet, and I would love to see that happen - to go to the cinema and just hear one of the songs in sync with a 20 ft image would be incredible.

MD: On the topic of television programmes, are there any out there that you're an avid fan of?

RW: Mad Men - I'm a massive Richard Yates fan, and that show embodies everything I love about his writing!

MD: How would you define your sound?

RW: Gospel folk.

MD: For me, the whole of 'Young Trees' is very emotional. Did you find recording it an emotional strain? Are there any songs that have brought you to tears? If so, which?

RW: The songs on the EP were all written in a period of change and movement, and I guess that was a very emotional period too. But the recording felt like a huge relief, I bottled it all up and then put it down. Every track on the EP is a single, live vocal take - no cuts or fixes - and I do remember recording Infinity Street (in a hotel room in Manchester) a bit drunk, a bit tired, and almost cracking...it's that line 'I have ordered all the words'...it was frustration more than anything else. Frustrated that I was able to say in a song what I couldn't say in person I suppose.

MD: Finally, if you weren't a musician, what would you be and why?

RW: Worse off. Real answer - I just don't know. I'd rather not think about it!

Thanks again to Richard for taking the time to answer our questions, and I seriously urge you to purchase a copy of 'Young Tree's. The five tracks retained within it are nothing but pure, uncontested beauty. Emotional moments captured in sound, they'll hold a spot in my heart, for a very long time! Read my review here, then buy the EP at the Bandcamp, here!

MP3// COOLRUNNINGS: Spirit of the High

2012-01-18T11:56:00.000-08:00

The genre that Knoxville's COOLRUNNINGS have decided to explore is 'post-rad'. It lies at the bottom of their Bandcamp pages with carefree ignorance, eyes blind to worldly worries and smug with the determination to takes this nice and slow! 'Spirit of the High' dropped a few days ago and is available to download for whatever price you deem appropriate. This four minute lesson in basking under the sun grooves with pleasant contemplation, steady drums and fuzzy guitars warming your soul. Reverberated vocals and wistful harmonies, a combination made for COOLRUNNINGS, relay lyrics that moot and muse and mull over the concept of love and life and making the most out of both. The second half of the number rocks out on the back of perfect instrumentation, cymbals clashing and harmonies wailing! All the while the bands eyes are closed to the worlds worries and the glare of a monstrous midday sun. Listen to 'Spirit of the High' above, then name-your-price to download it here!

SHORT REVIEW// Tygerstrype: Lackadaisical Daisy

2012-01-17T11:51:00.000-08:00

I'm an avid fan of experimentation, but Tygerstrype's venture into the rather broad genre leaves much to be desired. A Philadelphian outfit, 'Lackadaisical Daisy' is an aptly ironic title for their debut. A lackadaisical chap is one who lacks enthusiasm and determination, a trait reflected in Tygerstrype's inability to perfect and refine their potentially magnificence sounds. Not every track falls into this hole, but the majority do. The downfall of both the band and the record is for me, the sense that they thought that a few resolute numbers would offset the ones lying battered and bruised upon the sonic battleground. 'Open Notes' starts this conflict, a nice psychedelic vibe presented at the introduction soon becoming tiresome as the lead singer plays around with annoyingly prolonged notes. The second half's beat is a fantastic one, marred again by strange vocalise and half-hearted singing. 'Angelic Eyes' is better, guitars joining the electronic phrases with ease. However, it soon descends into the same grating howls we heard before, cutting the song into two halves with unprecedented awkwardness. The instrumental experimentation on 'Lackadaisical Daisy' is stunning, and never more so than at the end of 'Angelic Eyes', but this alone cannot support the rest of the LP. The clashing notes of 'MRKT Madness' make pleasant nostalgia turn sour, while a dreadfully lazy set of vocal drum beats make the thoughtfully written lyrics of 'Diggity Dang Dum Dum' little more than pointless. The overly-layered sounds on 'Malevolence' irritate, even while the instrumentation absent singing rides upon the waves of admirable maturity!

The second half of 'Lackadaisical Daisy' is surprisingly outstanding, sporting refinement and control and a lot more thought than their predecessors. However, it didn't manage to offset the scales and raise the bowl of exasperation and vexation to a manageable level. I am not going to return to 'Lackadaisical Daisy' any time soon but stream 'MRKT Madness' below, and you may think differently. If you do you can grab the whole album for free here!

&lt;p&gt;&amp;lt;a href="http://tygerstrype.bandcamp.com/track/mrkt-madness"&amp;gt;MRKT Madness by tygerstrype&amp;lt;/a&amp;gt;&lt;/p&gt;

MP3// Dress Rehearsal: The Lazy River Road

2012-01-16T12:15:00.000-08:00

Rarely do I ever find music that endears itself to me so completely and without cause that I fall short of words to describe it. Dress Rehearsal are a four-piece musical assemble from Toronto, and their two track effort 'The Lazy River Road' has I think, just done exactly that! Composed of 'Morning Grey' and 'River Blue', which you can stream up above, it's nothing short of truly and sincerely and inexplicably beautiful. 'River Blue's humble guitar strum a catchy melody with your heartstrings, lead vocals relaying lyricism of the utmost brilliance! The number swells and builds with subtle attenuation, without need of recognition. These four musicians feels so together you almost choke up, an honesty and unparalleled desire to watch them sit upon the bank of their Lazy River running into your mind. They play that almost overwhelmingly sad melody of 'Morning Grey' genuinely, with such innocence and faultlessly nostalgic elegance that you cannot fail to fall head over heels for it. Graciously emotional, Dress Rehearsal are so quietly content and stunningly unassuming, you wish for all the world that they would get all the praise they deserve. Part of me feels as though I haven't done 'The Lazy River Road' justice here, but another part tells me nobody could! Stream 'River Blue' above, and grab the rest of this acoustic perfection for free over here!

REVIEW// Covered Faces: LObiep EP

2012-01-15T09:13:00.000-08:00

You may be looking with bewilderment at the cover of this EP, staring with eyebrows raised at the gradient and the pasted mask, and the abrasive red letters that stab and curl with permanent snarls. I admit that it isn't the best thing we've ever seen, but the sounds that lie behind such unimpressive facade are most definitely a vast improvement. The work of producer Pablo Lázaro Vidal, 'LObiep' is his debut EP under the dark moniker Covered Faces. The music is suitably anonymous, the main emotion seeping from behind those cut-out holes being the raw throbbing anger of uncontested rebellion. 'Electronic death punk' reads the EP's label, the five consequent tracks pondering this statement and all of its connotations. Video game soundtracks and horror movies and a multitude of other influences rear their ugly heads to do so, envisaged via chiptune melodies and out-of-place pop sensibilities. A transfixing, hypnotic quality to every track overrides all else, often dark and terrifying, but never constantly so. Interludes of quiet, euphoric celebration simmer beneath the surface, peeking wide-eyed and innocent through the thrashing electronic riffs and furrowed brows that dominate the sonic sky. Despite the art and caption 'LObiep' is often brilliantly joyous!

Opening the EP is 'Killing Time', a number that contradicts its name with childish charm! A pacey electronic beat is soon met by an airy and care-free melody that in turn, beckons forth vocals, muffled and confused by the sheer speed of the three minutes in which they reside. A contrastingly slow finish plays out like a lullaby, an attenuated melody swirling to a triumphant end. 'Abandoned Dogma' follows with skewed samples from Jessica White. A medley of apocalyptic whirrs and hums and drones progress like the elated end to a sci-fi battle sequence. 'Stroppy's steady production line grinds and clanks along, photocopier- esque scanners beeping and buzzing with unnervingly conscious glee. The smile-inducing precision and order of it all is broken by a rogue robot's dash for freedom. Alarms sound and the rough synths of security groan. High and playful, the little robots little lungs pump electrons through a delicate body, emitting beautifully complex phrases of an unparalleled prowess. Sophie Nadaud's vocal contribution to 'Carving Knife' is spectacular too. Fuelled by reverb and an almost theatrically manic aesthetic, her two faces flicker and blur with an uncontrollable stacticity. Psychologically scarred, mocking sneers meet teary-eyed break- downs, her voice drawing closer to murder with every second. It's a truly terrifying number.

Inconsistency is the fault I have with many an unsigned EP. 'LObiep' is no different. As the aggressive beats and fluctuating notes of 'Don´t Stop Bitch!' fade away, I sit back and contemplate what I've heard. Upbeat offsetting slow offsetting angry offsetting exultation. I found the experience while short, also slightly incoherent, a quality that makes it not much of an experience at all. As a debut however, I congratulate Covered Faces with adulation! Stream 'Stroppy' below and if you like the sounds on it, download the full EP for free here!

&lt;p&gt;&amp;lt;a href="http://coveredfaces.bandcamp.com/track/stroppy"&amp;gt;Stroppy by Covered Faces&amp;lt;/a&amp;gt;&lt;/p&gt;

VIDEO// Grimes: Genesis (Yourstru.ly Live Session)

2012-01-14T10:40:00.000-08:00

The personnel over at Yourstru.ly are my go-to-guys when it comes to live session videos! This latest stunningly-shot clip is of Grimes performing her second single, 'Genesis', taken from her forthcoming album 'Visions'. Oriental keyboard melodies litter the soundscape as we watch her take her place in front of the microphone. Her voice manages to reverberate and echo around the room, sensually angelic tones offset by a shuddering of your spine. I find her singing strangely hypnotic, fluctuating through an emotional purgatory with almost inhuman charm. The high vocal warm-ups at the start meet layered clouds of sound at the end. The video does the beautiful number every justice so stream the five minutes above!

VIDEO// A Classic Education: Baby, It's Fine

2012-01-14T08:14:00.000-08:00

Directed by blogger Jamie Harley, and featuring the incredible Marion Ottaviani, A Classic Education dropped the video for their track 'Baby It's Fine' a few days ago. Taken from the Italian garage-rockers' album 'Call it Blazing', this relatively short two minute number is full of terrified undertones hiding beneath the sense of unparalleled euphoria that comes with unplanned teenage rebellion. Our Parisian protagonist is alone on the streets of France. The thought was a good one until the last rays of daylight blinked out of existence beyond the horizon. The whole track throbs with the heartbeat of this girl, a weary sonic triptych at 0:17 making me feel like a helpless spectator to her fear. A momentary lapse of darkness ultimately falls with a saddening diminuendo. A dulling of the light that coaxes forth the low, almost apocalyptic melody that makes 'Baby, It's Fine' the brilliant thing it is. A desperation grip the song, broken by interludes of hope and the shuddering of temporary sighs. It's an exceptional song and a breath-taking video so stream both up above, and find more here!

VIDEO// Dominant Legs: Make Time For The Boy

2012-01-14T06:35:00.000-08:00

The second video to fall from within the folds of Dominant Legs' LP 'Invitation', 'Make Time For The Boy' is the San Franciscan quintet's answer to a pop-ballad. Nostalgically dreamy and surreal and smothered in vintage sensibilities, Ryan Lynch and Hannah Hunt relay an incredible tale of lost love and the consequent determination to rediscover it. I'll admit that the perhaps overly-sentimental and dewy-eyed chorus was dripping in too much sugar for my liking, but the awe-inspiring saxophone work in the second half easily makes up for it! I was captivated by everyone involved, but Raina Mieloch's performance as our protagonist was exceptional at worst, her beauty highlighted by shy smiles and mesmerising eyes. An extrordiary journey plays out before yours however, from bedroom to landing to a strange party downstairs. The band-members dance a surreal dance, absent-mindedly following a pre-planned routine, often absent smile but never absent warmth. Well-filmed by Jonathan Yi, watch the video for 'Make Time For The Boy' above and discover their wondrous world!

MP3// Field Mouse: Glass

2012-01-14T04:54:00.000-08:00

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://fieldmouse.bandcamp.com/track/glass"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Glass by Field Mouse&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

When Brooklyn quartet Field Mouse dropped their cover of Deerhunter's 'Helicopter' back in May, which is an absolutely stunning number, I couldn't have anticipated hearing 'Glass' almost nine months later. However, here we are with another soaring dream-pop gem lying in our laps. Rachel Browne's crystalline vocals sing with melancholic retrospection lyricism of the greatest proportions. Verses intertwine with a glorious chorus effortlessly, revealing a perfectly constructed song with foundations of an unbreakable ore. Browne and guitarist Andrew Futral write with undeniable skill, lines like "Push smoke through the air / while you live out there" springing from their combined imaginations. Drummer Geoff Lewit's intricate drum phrases carry the surreal melody, while Allison Weiss's bass rides atop it, radiating a midday warmth with ease. Its a lovely track so stream above and download it for free here!

MP3// Manna: Wishing Well feat Mark Lanegan

2012-01-13T12:23:00.000-08:00

Finnish-Algerian songstress Manna dropped her album 'Shackles' upon the crown of our beautiful blogosphere last year, so I'm a bit late in jumping on the Bandwagon! However, it was the hark of more recent birdsong that commanded my attention. For the remainder of January, Manna is letting anyone and everyone grab a copy of 'Wishing Well', for free. My eager ears pricked at the thought and I'm glad they did. With Mark Lanegan of Screaming Trees fame contributing his grunge sensibilities to astonishing effect, these four minutes are more than worth the download. Offsetting Mannas delicate audacity with Lanegan and his gravelly, hard-rock vocals is a level of instrumentation that is executed perfectly. Blues infused guitars play with a rock 'n roll power, melodies of the utmost omnipotence falling in place beside folk-inspired interludes and roaring electronic riffs. There's an amplitude and yet a sense of rural, old-fashioned superstition that becomes embodied by the lyricism. I admire greatly the harmony within 'Wishing Well', so go ahead and download it over here!

VIDEO// Towns: Gone Are The Days

2012-01-13T11:02:00.000-08:00

Towns is a quartet from Weston-super-Mare, North Somerset, a seaside resort from which such names as John Cleese and the infallible Ritchie Blackmore have sprung. A shoegaze outfit, 'Gone Are The Days' has a physical release day of February 20th, but until then we have the digital version to keep us company! Four minutes of catchy and fuzzy guitar pop, vocals brimming with upbeat melancholia and an impressive hook, Towns know where they want to go. Guitar solos reverberate through the decidedly psychedelic video as whimsical words become waylaid. Finding his place with effortless enjambment, the lead singer gets back into the music brilliantly, dusting his efforts in a layer of subtle, foot-tapping rebellion! Stream 'Gone Are The Days' above and then look out for the physical release next month.

MP3// Old Suits: God Say You Will (Closure)

2012-01-12T11:03:00.000-08:00

Manchester's Old Suits dropped this four minute number onto the SoundCloud just over a week ago as the first track from their forthcoming EP, and while I'm not in love with it, there are aspects that reveal an awful lot of talent. As a quintet there's the ability and possibility on the band's behalf to record a track of grandeur and scale and scope, and at times they push this element through harmonies and powerful choruses in a very impressive manner. Soaring pop verses and sun-soaked melodies wander in abundance through the song, an undeniably summery vibe radiating from the instrumentation and offsetting those epic and relatively intense sections with interludes of subtly and detail. The vocals from Pedro Lax aren't the best I've ever heard, and stumble off and onto the right track a couple of times. They're not monotonous by any standards, but sometimes I'm just waiting for that varying pitch. The build and climax that conclude the song are fantastic, the quiet defiance of "I'll never leave" growing into a passionate scream as our protagonists run through the street after the person they love. The monogamous marriage between man and music, Old Suits connect well with the listener, and have bucket-loads of potential! Keep both ears pricked!

MP3// SPECTACLES: Babygurl

2012-01-12T10:11:00.000-08:00

Californian producer SPECTACLES has an album in the works. With 'Babygurl' at it's helm I'm not sure such a record could have asked for a better ambassador! Three minutes that peel away at the boundary separating electronic sounds and rock sensibilities, 'Babygurl' is a subtly surreal number. Wavering electronic phrases reverberate through empty space as samples dodge their dangerously blissful ignorance. A guitar interlude drives forwards, its riffs echoing across the ages with unwary condemnation, powering onwards through an industrial cityscape and devouring everything with terrifying quiet. Ominous undertones paint the landscape a barren red, machines thinking instead of man, their metal eyebrows never once raising question or contemplation. 'Babygurl' is a very intriguing tack indeed! I can catch glimpses of a world running so fast we measure time by months, yet the song is not thus! Hear 'Babygurl' above, and await an album via SPECTACLES SoundCloud here!

REVIEW// Richard Walters: Young Trees EP

2012-01-11T13:00:00.000-08:00

Richard Walters is a singer-songwriter, hailing from Oxford. Unsigned and yet undeniably talented, this EP foreshadows the release of his third full-length LP, a record set to stun. Four original tracks and a cover of Echo & the Bunnymen's 'Bring on the Dancing Horses' make up 'Young Trees', an EP that was recorded over several months. Stark and honest, a complex simplicity gears away behind the flawless production, blown by a crisp winter breeze and the red river of a heart-broken man. 'Young Trees' is Walter's statement of liberation, however much he misses the shackles that bound him. However much he wants to feel the weight of emotional chains hanging from his heart, 'Young Trees' marks the point at which Walter realises the etched scars are beginning to fade. Picking himself up, he dusts off an innately somber and sincere set of memories and ushers them into this hopeful collection- box, with every intention of looking with a resolute determination towards the future. An EP like this conceives with melancholy adulation the innermost workings of a human heart, an inconceivable notion as vast and boundless as that of the cosmos and all its truths. Its not a mathematical proof, nor a scientific equation. The undulation of a man's breathing when close to true eudaimonia is the answer. Richard Walters attained this state; 'Young Trees' following as a carriage for the lament of its loss. For me it's nothing short of truly beautiful!

The opening number also serves as the title track. 'Young Trees' is three minutes of an undeniable human warmth. String instruments waver and wane beneath upbeat drums of a brilliant quality. The balancing of vocals and instrumentation is executed perfectly before my favourite track even comes into view. 'Regretless' utilises Walters falsetto to stunningly good effect, teary-eyed harmonies and high notes riding atop a simple piano melody. The best section for me however, is when Walter steps along a lyrical passage with vocals that seem tangibly close to talking. It's a dangerous path to tread, but this has got to be one of my favourite examples of such a technique. 'Dandelion' follows and 'Infinity Street' follows that. Subtle crescendos and corridors of hauntingly quiet, and quietly saddening singing lead with fragility and passion and admirable guilelessness to the ultimate song. A version of 'Bring on the Dancing Horses' to surpass all others, it makes an apt end to an EP that requires all of your attention. The soundtrack to reflection, 'Young Trees' is awe-inspiring! Hear 'Regretless' below and then I eagerly suggest you purchase the whole EP over here.

&lt;p&gt;&amp;lt;a href="http://richardwalters.bandcamp.com/track/regretless"&amp;gt;Regretless by Richard Walters&amp;lt;/a&amp;gt;&lt;/p&gt;

MP3// White Rabbits: Heavy Metal

2012-01-10T12:52:00.000-08:00

White Rabbits are a New York sextet and 'Heavy Metal' is their latest number. From such a statement you might infer that the band play a form of well, heavy metal. You'd be wrong. I made such an assumption opening the gates to this four and a half minute track, but upon entering White Rabbits humble abode you're met by a rather delightful brand of indie-rock that pleasantly, defies all expectations. Instead of hard riffs and pounding drums, a chilled out concentration of electronic melodies and constant beat emerge from the out. Abrasive guitars pop up now and again amongst a multitude of bizarre sounds. Shakers, a catchy piano phrase and intriguing synths all show their faces at some point or another. The lead singers sings at fluctuating pitches as your foot taps along to his confident vocal groans and alluring air. At 2:15 an interlude begins, finger clicks and heavy, awe-inspiring guitar work taking place. The way White Rabbits stop and start is a technique executed brilliantly by them. All the above elements are mixed and presented in a manner that keeps you on your toes! It's a great track, so stream up above and hopefully we'll get a full-length soon!

MP3// Xiu Xiu: Hi

2012-01-10T11:52:00.000-08:00

Xiu Xui are a set of avante-garde Californian rockers, set to drop their new album 'Always' on March 6th. 'Hi' fell from within the folds of this latest effort a week ago, and I'm liking the sounds on it! Four minutes of experimental rock that hit you with fists backed by theatrical brawn, 'Hi' plays out like a twisted version of 'If You're Happy and You Know It'. The vocals demand with tangible passion that "if you're wasting your life say hi", a request followed by a number of similarly somber statements. This singing is Xiu Xiu's selling point. Electronic phrases douse the track in shadow, throbbing guitar sounds hanging heavy in the air, but the sheer unmistakable sadness radiating from the vocal fallout is what makes 'Hi'. Often I find tracks that need so much more emotion injected into them. Xiu Xiu is brimming with an incredible amount of this emotion however, tears staining the fabric of the track and heavy breathing quickening its pace. There's a beauitful bit of instrumentation at the end that, in its layering, power and inept ability to be technically perfect, makes for a wonderful finish to a brilliant number. Individuality is an element to music I strive to find, and Xiu Xiu have it!

MP3// The Shins: Simple Song

2012-01-10T11:09:00.000-08:00

The Shins dropped this 'Simple Song' upon their SoundCloud only yesterday, and already it seems to have set the blogosphere alight, the fires of their pop-infused rock sensibilities spreading with uncontrollable fervour! I'm a big fan of The Shins. 'Wincing the Night Away' is a stable record in my life so discovering a new number made for anticipation on a grand scale. However, initially I was not as impressed with this as I knew I should have been. My sudden disappointment with a band I've always loved ushered in a queue of repeats, and after a few I knew the answer lay with the lyricism. From interesting lines like "Faced with the android's conundrum / I felt like I should just cry", we're now being dealt such gems as "And where they did wrong / you sure must be strong", and rhyming 'rough' with 'tough'. It does have its nice moments but overall I wasn't drawn into 'Simple Song' as much as I was with the complexities of songs like 'Australia' or 'Pam Berry'. Everything just seems laid out on the surface without me needing to dig very far. But hey, with a title like 'Simple Song' I don't really know what I was expecting. Listen to all four minutes of said number up above!

VIDEO// Moullinex feat Peaches: Maniac

2012-01-10T10:25:00.000-08:00

Michael Sembello is most famous for his appearance on the 'Flashdance' soundtrack, with a number that has become one of the highest-grossing songs to ever appear on film! Now a recognisable classic, it was only a matter of time before a cover cropped up that I loved! Moullinex utilised the vocal talents of Peaches to throw down this version of 'Maniac', and I have no intention of picking up that particular gauntlet. The most definitely NSFW video is just brilliant, and while the repetition of the last half never appealed to me, the dancer has my attention hooked from the off. An outfit change and some drugged-out lighting close a wonderful video and indeed, a wonderful cover of Michael Sembello's 1983 masterpiece! I absolutely dig this interpretation, so have a stream up above and mind out for captivation. Moullinex has an album full of covers dropping later this very month, so watch out for that!

VIDEO// Belleruche: Stormbird

2012-01-09T12:36:00.000-08:00

I found this while browsing and I'll admit that I've never heard of Belleruche before now. An electro-soul trio from North London, 'Stormbird' is the first single from their forthcoming LP 'Rollerchain', an effort set to drop on July 5th. Their fourth release through Tru Thoughts, a Brighton-based label, 'Stormbird' sets the bar of anticipation squint-inducingly high. Its a fantastic number, Kathrin deBoer's vocals wondrously fast from the outset. The lyrics gain a very alien sensibility, mesmerising and soothing and truly captivating. Abstract shots of smoke and fencing and feathers surround deBoer's strange dancing style while crystalline singing pans through the back of your head. What really grabs you however, is the finish! The final curtain call rushes to throw out the words, speeding everything up until you can feel your heart pounding beneath a strained ribcage. It is stunning, so stream it all above!

VIDEO// Autoheart: Control

2012-01-09T11:18:00.000-08:00

I shared Autoheart's 'Control' as an MP3 last month, but here is the long-awaited video for it! It's a four minute indie-pop gem, and the video highlights that to unparalleled effect! My eyes reflect back nostalgic clips that crackle and blur under summer sun and a film of dust that makes every second feel like uncovering memory after beautiful memory. Watching a heart-broken man sing of a floundering relationship is a concept all too common in todays pop music, but Autoheart seem to have ran their fingers along enough love-induced scars to accurately relay the pain felt beneath them. Keyboard melodies splash against the side of 'Control', every so often breaching the edge under the winds of a passionate storm. It's a great music video to a brilliant number! Watch up above and read my original post here!

VIDEO// Henry Dutton: Koadij / Beats & Poles

2012-01-09T10:42:00.000-08:00

After two rather serious reviews, what we all need is a video of a pole-dancer dancing to a Korg PadKontrol right? The video is shot by David Dutton, who also filmed that Frail video I covered last week, and the music is that of his brother, Henry Dutton. The utilisation of a PadKontrol is interesting to watch, even if the final track isn't really that amazing. However, I do enjoy the full circle the music takes, sounds layered onto a simple beat and ultimately peeled away as the song concludes. It's a sound structural technique, but the real star of the show isn't that. Rather, the dancer holds our focus, her position up the poles acting as an equaliser to Henry Duttons sonic experiment. His fingers work magic across this sixteen button grid, each square loaded with a different sound. Its fascinating, so watch up above!

REVIEW// Lee Bannon: Gnarlon Bando's Midnight Noir

2012-01-08T11:38:00.000-08:00

Lee Bannon's 'Gnarlon Bando's Midnight Noir' is an eleven track album that dropped New Year's Day. "The instrumental soundtrack to an imaginary movie" reads one line, alone and resolute at the bottom of the page. It invites a certain intrigue in its vague ambiguity, and I soon found myself surrounded by experimentation and hip hop sensibilities worthy of such anticipation! Based in Sacramento California, Bannon creates in 'Midnight Noir' a soundscape as fascinating to explore as any. A breath of its crisp air inflates your lungs as the muffled screeches and thundering purrs of numerous cars fly past you, lights blurring and flashing and flooding the street in light. Looking up, the emptiness of the sky seems at once both a desperate plea for silence and an acknowledgement of the gods. Slow rain drips from the street-lights, splashing with delicate euphoria upon the cold pavement slabs, sliding into a crack you never realised was there. A surreal feeling washes over you as you listen to the strange transcendence of 'Gnarlon Bando's Midnight Noir', a sense of unparalleled quiet. I remembered night rides home, my warm forehead pressed against the window as the cold reality of the glass rippled through my mind. I could retain a state of disbelieving bliss, the pane acting like a filter between my world and theirs. Rain danced past my eyes, the sight of outside refracted and skewed by the warm pulsating glow of street-light after street-light racing past. I remained completely still. Everything else blurred, as I bathed in my serenity.

The album opens with 'Nightshift Part 1', ambient rain setting the scene. A phone rings amidst the downpour, a throbbing hum lending a heavy, ominous air to the precedings. An attenuated sample introduces ethereal, angelic complexities that flucuate and swirl to form part two of this dual number. A sensual beat and subtle melody are surrounded by sounds I've never heard before. Static buzzes are utilised in a soothing manner, synths beautiful against a powerful, stormy backdrop. Slow deliberation and contemplation radiating out of 'Discovery' make me feel as though I'm hearing chillwave for the first time. Initially I got the impression it was going to be a danceable number, but Bannon affirms his position on the pinnacle of ambient hip hop. The rain returns for 'The Motive', three and a half minutes of undeniable perfection. An innocent sample introduces it, mutating and transforming over twenty seconds to become a low, nightmarish voice, his breathing heavy with the weight of unforgiven guilt. The melody here is stunning, reflected off the city lights and commercial banners. Nostalgic harmonies flow in and out as you fall, uncontrollably, into a groove. An already prominent experimental ethos is amplified and emulated here, and I, well, adore it!

'Arcade Scene' changes things up a bit, throwing a pop sample in there and remixing it to create a heart-pounding action sequence. A conversation sparks a set of speedy synth phrases and scope-infused choruses worthy of the next number, 'The Chase'. Surprisingly slower than its predecessor, racing car samples litter the sonic floor, setting the scene for the following four minute 'Shoot-Out'. Previously cited as being the soundtrack to a movie, you realise in the second half of the album how true that actually is. Everything links with everything else, merging and amalgamating under 'Gnarlon Bando's Midnight Noir', which isn't far from being the most consistent and 'together' album I've heard in a while. After the lingering dance sample of 'The Count Down' dies down we're left with 'The End'. A suitably upbeat and happy conclusion to this record's tale, I've loved every single one of its twists and turns. A surreal adventure brimming with thrills and chills and ultimate merriment, Lee Bannon has tied of all those emotions together and presented them in the best possible way. Outstanding production. Outstanding story-telling. It's an outstanding machination of musical goodness, so stream 'The Motive Part 2' below and purchase the full album here!

&lt;p&gt;&amp;lt;a href="http://leebannon.bandcamp.com/track/the-motive-part-2"&amp;gt;The Motive part 2 by Lee Bannon&amp;lt;/a&amp;gt;&lt;/p&gt;

REVIEW// Superhero Eugene and The Orange Juice Sunshine Band: Dead Bears EP

2012-01-08T04:57:00.000-08:00

Looking at the name of this band and the title of their EP, I sense a logical contradiction. Superhero Eugene and The Orange Juice Sunshine Band released 'Dead Bears' at the end of December, six tracks of what they call 'folk country goth punk'. The connotations of their band name when compared to the genre and eponym of the EP seem at opposite ends of the spectrum, and this is reflected within the music for me. There seems to be an erratic lack of a strong central aim, almost as though the outfit cannot decide between themselves a core theme to explore, and so wander between a few. Individually almost every track here is great, but their amalgamation under one flag leads to subtle frictions in the group. The songs unify under one name, but in my opinion Superhero Eugene and The Orange Juice Sunshine Band haven't learnt what that should mean. An aesthetic should flow through a release without pause, marrying song with song as it travels with resolute direction. I'm not talking about variety within an album or EP, those interesting complexities that engage and retain your attention. Superhero Eugene has individuality emblazoned across his chest. I am not talking about sonic progression as you move through the tracks either. I'm talking about an intention. As I listened through 'Dead Bears', I didn't know what this band wanted me to feel. The sad lament of 'The Death Of Superhero Eugene Loveday' or that brilliantly happy tale of 'My Orange Balloon'. The word is inconsistent, but if Superhero Eugene and his crew can nail continuity then they're onto a surefire winner. Like I said before however, individually almost every one of the six tracks works magnificently, and I cannot hate them!

Opening the EP is 'The Cotton Bag', a three minute song with truly stunning lyricism. It doesn't seem to me to be as accessible as some of the other tracks, which makes placing it at the start a little strange, but as one of my favourites from Superhero Eugene I didn't mind. The production isn't as good as other numbers either, but something spectacular is added to the music through it. The drums are tribal, pounding below a sea of wailing violin as they clammer and roar. Matthew O'Toole's vocals are incredible, breaking at every turn with true passion. The cry of 'In the Cotton Bag' is outstanding, followed and preceded by lines like "a murder of crows, they're wings like woe". The image of a wood is painted, icy and dark and quietly terrifying. A time of witchcraft and demons and heroes emerges out of the music, and I love that! The catchy upbeat ethos surrounding 'Seaside Rain Cycling' is executed wonderfully. The need to kill this silly Sasquatch is relayed with such playfully happy instrumentation a beautiful smile erupts upon your face! 'The Death Of Superhero Eugene Loveday' flits again, back to this somber, violin-laden lament. Nobody sings as an incredibly revered man is lain to rest. Before he was just part of a band-name, but now the body of this man appears, and a tear falls from the corner of your eye, sliding slowly down your cheek. The band quickly recover and continue with a cover of the White Stripes' 'Do'. 'My Orange Balloon' follows. A startled look of surprise settled on my face. If you haven't listened to the previous tracks you wouldn't believe that this was the same band. "I hope it finds it's balloon world" goes one line, and "I think it fell in love with the magic moon" goes another. Its accordion and female vocals and rainbow-infused softness don't fit in with the EP. The singing of the ultimate number 'Sunset's Eyes' are simply heart-wrenching. You can see the tears roll down O'Tooles face and long pauses of instrumentation are brilliant!

However yes, the EP is in the end disappointingly inconsistent. While I enjoyed each of the tracks here on their own, I often felt as though the emotion I was feeling was wrenched away from me as Superhero Eugene and The Orange Juice Sunshine Band tried to throw too many different feelings, themes and emotions in at too many inappropriate times. You can stream 'The Cotton Bag' below and download the EP for free via the Bandcamp here!

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;a href="http://orangejuicesunshine.bandcamp.com/track/the-cotton-bag"&amp;amp;amp;amp;amp;gt;The Cotton Bag by Superhero Eugene and The Orange Juice Sunshine Band&amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

REVIEW// Skai Nine: Ember EP

2012-01-07T10:57:00.000-08:00

We've covered Skai Nine here before, dissecting a couple of numbers from the Maryland-based and self- proclaimed 'music schizophrenic' way back in October. Peeling back the layers of sound revealed a multitude of synths and hip hop beats, soothing and ominous in equal, fascinating measure. Returning to them for this post was pleasant, and made the anticipation to listen through 'Ember' and the four tracks embroiled within it almost unbearable. Thankfully, what I discovered when I hit play was something so wonderfully mature, and so fantastically attenuated that I almost instantly fell in love with it. Skai Nine has progressed a great deal from when we heard him last. The complexities behind the music overlay and rub against each other constantly, sparks spat from the churning cogs to bounce among the shadows. There is a cataclysmic, apocalyptic beauty that walks through the EP, its sad eyes despondent and red as they behold the silent unexplained fall of far-off skyscrapers. Some of the numbers break away from this theme but for "just some things" Skai Nine was working on, the fact there is a theme at all is miraculous. But hey, the EP's free in the end!

The first track from this electronic producers third EP is 'Grit', a song whose name and its connotations are more than suitably fulfilled! Pounding beats and a nervous, uncertain melody are claustrophobic, grunts of men startling you at every turn. A door opens and a vast expanse of grey confronts you. Gears grind and robotic arms crumble, the earth and all its leaders bearing down upon their shoulders. Futile snorts of primal exertion, backed by a heart-rendering melody really do make everything seen pointless. However long you run for, those hellish strains of men will always find you, and that is an extremely powerful image! Perfectly constructed, 'Grit' opens 'Ember' on a distant high. Surreal thoughts still linger as 'Telescope' begins, a five minute muse, dissecting the notion of land beyond our own. There remains heavy in the air that same subtle, nightmarish feeling we got from that opener, pushing the boundaries of space and finding nothing beyond its walls. An almost metamorphic effect floats between stars as they blink out of existence, swirling with a slow deliberation that never fails to make you sigh. 'Crystallize' follows with a crazy compilation of sounds, broken by gritty synths. Yet again a thought-provoking aesthetic comes to light within its arena of adrenaline pumping sonic combat. I loved hearing every single second!

'All In Together' closes the EP on a happier note than its predecessors. The shortest of all the tracks here, tinkles and repeated synth phrases weave their way through it's three minutes with smiles abound. At 1:00 a great section enters the delicate fray, the muffled melodies of the waltz next door reverberating along the corridor and beckoning you to go and join the festivities. Raucous shouts add to the sense of anticipation but Skai Nine, in a stroke of genius, cuts the evening short. And thus 'Ember' ends, the last weary breaths of its burning heart dying out as thoughts of your experience whisper through your memory. I am in no doubt in regards to Skai Nine's full-length debut, to which a release date of early spring has been given. It is sure to be absolutely and undeniably amazing but for now you can stream 'Grit' down below and download the EP via the Bandcamp, for free, over here!

MP3// Nerve City: Sleepwalker

2012-01-06T11:56:00.000-08:00

When lo-fi music it done well, it shines out as truly magnificent. Nostalgic and humble, and more often than not home-recorded, there is a well-placed air around every note, full of a certain emotional intelligence nothing else quite manages to match. Taken from Nerve City and their EP 'Sleepwalker', this title track ticks all of the above boxes. Its guitar and drums contrast in their upbeat sensibility with both the vocals and the lyrics they relay. Singing a tale of loss and heartbreak, there is a weary age to the voice here. You can almost see a face, tired eyes teary amidst creases and wrinkles and half-shaven stubble. A hat sits on his head, the brim stained and lived in and full of stories. The reverb here is executed at a level so high I fear that it will be a long time till I hear something equally as well, pure. Hear 'Sleepwalker', with all of its haunting, sleeplessness above, and just imagine. Two minutes it may be, but once heard, I doubt very highly that you'll forget it any time soon. The EP is fantastic but some things don't need reviewing. Find the six tracks on Sacred Bones here!

MP3// Apolar: She's a Monster

2012-01-06T11:05:00.000-08:00

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;a href="http://apolar.bandcamp.com/album/i-just-want-to-set-the-world-on-fire"&amp;amp;amp;amp;amp;gt;i just want to set the world on fire. by apolar.&amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;
Chanced upon this little track a few minutes ago so I'll get it and another out the way, then I promise I'll get onto all the emails you guys have thrown my way! The latest number from Bloomington's very own Apolar, 'She's a Monster', taken from 'I Just Want to Set the World on Fire', is a four minute track of ambient minimalistic post-rock. The album's set to drop on the 5th March, but until then we've got this to keep us company. Everything about it is dripping with slow, deliberate contemplation, classic post-rock builds and uncharacteristic echoes amalgamate into this well thought-out and pretty enjoyable song. It is not the most outstanding thing in the world but it's worth four minutes of your time any day of the week!

MP3// Wildernessking: Rubicon

2012-01-05T10:51:00.000-08:00

&lt;p&gt;&amp;lt;a href="http://wildernessking.bandcamp.com/track/rubicon"&amp;gt;Rubicon by Wildernessking&amp;lt;/a&amp;gt;&lt;/p&gt;

I figured,l I haven't posted any great metal in a while, so I set off on my quest to do so! My emails have stacked up to an incomprehensible size, but Wildernessking were worth it. An incredible and melodic black metal quartet from Cape Town, South Africa, two tracks from their forthcoming album have been streaming on the Bandcamp. Something about brilliant and heartfelt and complex orchestral metal makes my heart pound, with this band virtually ripping such organ from my chest. The vocals kick off as you'd expect on 'Rubicon', which you can stream above, but soon they transform into something much more. The raging of wind. The magnificence of thunderstorms striking from heaven, humbling our small, almost insignificant mortal bodies. As animals scream under heartbreaking drums and guitar, you truly feel like screaming and crying and running away through the rain. Its all an emotional barrage, smashing into your body with tangible passion. The solemn guitar interlude that haunts 'Uptopia' provides time to recover before the desperate pleas and sad screams of an apocalypse wrench tears from your heavy, uncontrollable breathing. People never go and use one word to describe metal. Beautiful. Somehow though I think that this just might be. There is a reclaiming of days past, living in the land of monsters and legend. Fantastic lines like "And when we rode with grace, calloused hands to the sky" are strong. They feel poetic and thoughtful and yes, quite unnaturally beautiful. Hear 'Rubicon' up above, then head over to Wildernessking's Bandcamp page and listen to its brother 'Utopia' over here!

REVIEW// The Internet: Purple Naked Ladies

2012-01-04T10:27:00.000-08:00

The Internet's purple naked ladies. That's a phrase I would never have thought myself uttering upon these pages, and yet here we are. As the latest album from alternative hip hop collective Odd Future however, this eponym shouldn't come as much of a surprise. After a pretty abominable effort from Tyler, the Creator, a man who shredded my faith in Odd Future with 'Goblin', I'll admit I didn't lose sleep over 'Purple Naked Ladies'. A fourteen track debut, what excited me about it was the obscurity of its creators. The Internet are Syd Tha Kid and Matt Martians, two of the less well-known members of Odd Future. I hoped with all my heart my love for the Californian collective could be pulled away from the edge by this duo and that my anticipation for something fresh, new and hope-salvaging could be fulfilled! A teary plea for something different ensued from this initially confident set of ideologies, but what I found when I pressed play was a set of tracks I'd more or less heard before. Queue break-down. Matt Martians is half of another Odd Future outfit, The Jet Age of Tomorrow, and in many ways I feel as though 'Purple Naked Ladies' is just a re-run of those sounds. I listened again and again, and what I heard was the lazy amalgamation of soul and hip hop and electronica, the same formula The Jet Age of Tomorrow have covered on two albums already. The resulting record is bland and boring and lacking in any form of hook. It's just a cluttered mess of sounds, neo-soul clashing with jazz, clashing with hip hop. It aspires to greatness, but never quite gets off the starting line. As debuts go, this one is just a failure.

There are a few numbers here that make listening to the album worthwhile, but in their rarity they don't succeed in retrieving any scrap of replayability that could have been had. Their position in the record also factors in. As the concluding three tracks, they arrive far too late to have any real meaning. If I had been listening through 'Purple Naked Ladies' of my own accord, rather than for a review, I doubt I would have gotten that far down the line without spamming the fast forward button in vain. 'Fastlane' is the first of the three. It hits a chilled out and soulful level that others songs fall short of, and while an echoy sensibility irritates the ears, a defined beat and purposeful air make it relatively wonderful. Syd's soft and soothing vocals relay pretty engaging lyricism too, which is a sheer contrast to 'Violet Nude Women'. The opener to the album, it's atmospheric ethos and patronising singing fall into more of a rut than a groove, and feel more empty than spacey. Lazily constructed, it just doesn't click with me. Some of the beats you can find from The Internet are terrible, but in their defence there are a lot of buried techniques and complexities within them that only become apparent on repeated listen. I think The Internet's problem is that they can't pull in the listeners to do so. Overall, I wasn't impressed by 'Purple Naked Ladies', but on consideration I reckon that with a bit of refinement and compass-righting, The Internet can walk down their chosen path without bumbling about in the undergrowth either side. Hear 'Fastlane' down below, and if you like what enters your ears, find the full album over here!

MP3// Strange Names: Demons

2012-01-02T10:21:00.000-08:00

American duo Strange Names dropped this stunner of a track about this time yesterday. A four minute number, 'Demons' is refreshingly varied, undergoing numerous deaths and an equal number of glorious resurrections, all the while maintaining an impossible sense that each reincarnation holds the same ethos as its forefathers. The song opens with a distinct and alien whirring, met by drums and warm bass that groove and glide upon its surface. A male singer begins to sing, his voice perfectly matched to the tone of the track. These two elements, instrumental and vocal, manage to embed themselves within each other, and an incredible unity emerges from their amalgamation. Quietly brilliant harmonies add another layer to the sound, before and the song seamlessly switches. At 1:10 we discover a softer chorus of sorts, that same uniquely alien effect running through its veins. At 1:50 however this phase is ripped from our tender grasp. In its place, a deeper, lilt inspired voice makes its way into our ears. The line "Someone save me from my demons" concludes the track, a powerful sentence, repeated and plead like a macabre chant, and I love it! Stream above!

MP3// Grand Prismatic: Radio Cure

2012-01-02T07:47:00.000-08:00

Grand Prismatic are going to be a tad left-field for some. You may dismiss with a grunt the mere idea of trudging across such a field to see the band play from a different angle, but I assure you your altered perspective and admirable perseverance will reveal something so truly heart-warming, your heart-strings will swoon. 'Radio Cure' is the latest track from this four-man outfit, a group hailing out of Melbourne Australia. Five and a half minutes long, it opens with a soothing guitar melody, broken soon after starting by the vocals. Something about them initially doesn't click. The few seconds before the deep bass note seem a little forced perhaps, but not as you'd expect. The higher, softer range isn't shouted, but still it feels unnatural. Take note of the word 'initially' though. The more you hear 'Radio Cure' the more you come to realise. Everything about the track works, imprinting an individuality and unique charm on every note. The subtle complexities of the instrumentation. It's ability to swamp the lyrics in a level of glory and magnificence and awe-inspiring beauty at 2:40. I am in love with 'Radio Cure', its tonal tides swelling and building into a euphoric climax. It's an opener to the year that opens your eyes. Stream it up above then find more over here! I've forgot to mention that this is a Wilco cover but everything written up above still stands!

VIDEO// The Frail: Frenemies

2012-01-02T05:52:00.000-08:00

San Francisco quartet The Frail dropped this music video for their track 'Frenemies' back in November, yet it seems strangely suitable for the new year. As we attack January's cold and post-Christmas blues with freshly-incensed gusto, the sight of partying and the sound of care-free electro-pop drives us forward. After a wild night out, this group decide to cure their surreal hangovers with another run of San Francisco's bars, and their determination to have a good time is equal in their determination to make you smile! The fantastic David Dutton shot the four minute video using SnorriCams, which makes it seem as though the subject of the shot is standing still and the world is moving around them, as opposed to the reality of the situation. Its a pretty neat effect when utilised effectively, and fortunately I think Dutton got it spot on! Musically things don't really kick off until about halfway through the film, but the scene setting introduction is superb. A distinct and mesmerising melody is a reminder of the night before. An attenuated drum builds, and subtle sonic tinkles float in amongst the notes. Vocals arrive, muffled and reverberating in their own little world, and a passionate sensibility soaks the lyrical adventures of these four guys as they weave their merry way around the city. The numerical sequence thrown in a couple of times feels a bit lazy but hey, you're witnessing the band getting quite drunk. Cut them some slack! Stream the full video up above and check out the rest of David Dutton's brilliant filmography here!

REVIEW// Jim Guthrie: Children of the Clone EP

2012-01-02T02:46:00.000-08:00

Upon awakening to the new and beautifully designed newsletter from Jim Guthrie, something inside of me let out an almighty, child-like grin. Whatever is happening around you doesn't matter when you are handed even a couple of tracks by this musical aficionado. However instead of two, I was made aware of an eight-track EP! I sat down, and with a smile plastered upon my face, a wonderful thought entered my head. Today was going to be a great day, and Mr Guthrie didn't let me down. A followup to 'Sword and Sworcery', the soundtrack to a superb game of the same name, 'Children of the Clone' was amazingly, only recorded via a PlayStation 1 and the 1999 game MTV Music Generator. What Guthrie has managed to do is record a stunning set of tracks through the utilisation of considerably old technology, which is worthy of any music lovers adulation and admiration. 'Children of the Clone' is the epitome of nostalgic reminiscence, it's beeps and synths and panning sounds all part of a single thing, looming from the mists of time itself to stand worn and weathered at the door! The wires and plugs behind its emergence isn't noticeable in the music, but it's a fact that makes such sonic soundscapes that much brighter, lit by the impressed light of your eyes!

The EP opens with 'Economica', a quietly ominous track laden with chiptune melodies and a thundering bass line. A deep piano note sways forwards and backwards as Guthrie experiments with 3D sound panning. The higher and lower phrases are split into separate headphones before amalgamating halfway through in a thoughtfully upbeat chorus. Tone- wise things flit from happy to sad, playful samples whirring and laughing amongst the dark moonlit gravestones of the backing track. A technological glitch plays out before your ears and the next number begins without pause. The title track, a steady beat throbs. Strange noises detail the constant, almost totalitarian suppression, but then a powerful synth calls the clones to arms. Regimented and solemn and sincere, those many marching feet begin to run. The ground shakes and the lone drummer continues to beat. Brilliantly constructed in every conceivable way, this number feels truly perfect, but perhaps that's because it is!

After the sparse magnificence of 'Room Full Of Empty People', its building melody and ethereal purity growing on you as the song progresses, 'Heart Of The World' begins. This is the number you can really imagine in a video game. Something about its speed, panting and crying and racing from an unknown enemy just works. Layers of sound and detail and complexities end with the booming, mocking image of a 'game over' screen, and I adore it! 'Popcorn Part 2' follows from the non-existent 'Part 1' but the cheery upbeat charm of it all forgives such lacking continuity. The constant backing melody ultimately devours all other sounds as it moves to the forefront of the music. This crushing blow is worthy of 'Jimmy's Lament', a song gloomy and moody as an organ picks a number of despondent notes for it to play. 'Lust in Space' moves a little way from electronica to explore a guitar's acoustics, but you can't expect them to stay away forever. They edge back into the music more than often, but you cannot help but accept them! 'Everything' concludes the EP. It's woven from the same thread as 'Lust in Space', and feels content with everything that came before. A wonderfully happy sigh leaves my lips as these eight tracks take their leave from my ears. Its nothing short of exceptional so hear 'Children of the Clone' below and find the EP here.

Children Of The Clone by Jim Guthrie

MP3// Granit: Aresta

2012-01-01T08:29:00.000-08:00

Granit is Alba and Cristina, a Spanish electronic duo hailing from Barcelona. To journey to their SoundCloud is to be met by only one track, standing proud in its defiant singularity. A four minute number, the seconds accumulating under the title 'Aresta' are blissful seconds indeed. Such an empowering moniker is translated as 'Edge', and everything seems to act as though they're on one. The edge of the world is no time for anger, so a happiness and soothing calmness prevail as you listen. Passionate feelings radiate out from the Spanish vocals, lyrics sang with universal emotion. You don't need to understand the words at all. I find music works best if even without defined verses you can understand the tone. Granit do just that. A massaging beat supports a mellow melody and melancholy singing. Subtle echoes bounce back and forth against the seams of the track, the beautiful harmonies at 1:28 rippling down your back and making your hairs stand on end. A constant tinkling puts emphasis on the surreal nature of these girls' world, and I only wish that I could join them!

MP3// Van Stonholdt: 21st Century Problem

2012-01-01T07:08:00.000-08:00

If you take a wander across Van Stonholdt's SoundCloud you'll find scattered amongst the wispy white branches a few tracks. Five to be exact, held in atmospheric suspension. To explore further would reveal numbers abundant in bass, throbbing and pulsating. Wailing. Small squeals of reverb and fluctuating signals detail a cosmic groan echoing across this dying planet. Yesterday however, Stonholdt dropped '21st Century Problem' upon his land to lie cheek to cheek with those five fallen numbers. Take a deep breath and dissect these four minutes though, and you'll find something fantastical. A muffled drum and an upbeat melody emerge from the silence, rising up against the previously miserable backdrop to a glorious smile. Home recorded music always holds a particular charm for me, honest and humble and quietly aspirational. Stonholdts vocals appear so. Beautifully understated, the lyrics are sang with the knowledge that the singer cannot possibly solve this '21st century problem'. As an abrasive finish ends you decide that all in all the song was rather brilliant!

MP3// Lustworks: Alluring

2012-01-01T05:17:00.000-08:00

Lustworks dropped this little number onto my SoundCloud a couple of days ago, and while it is New Years Day, and I should probably be celebrating, 'Alluring' demands my attention. A very left-field track, the layers to it create a level of undeniable intrigue. Numerous sonic details fleet between notes, revealing themselves only upon repeated listen. One singular vocalise is constantly at the forefront of the music, but that's not really what you should be listening to. It's alien sensibilities fluctuate and pulsate, technical glitches flickering within a gloomy and dimly lit alien craft. Behind this abrasive war-cry however lies something all together different. Like the man behind the Wizard of Oz, you hear behind the somewhat mesmerising vocal a gentleman's stroll, embodied by a whistle. Patches of surreal, muffled chanting from our magnificent alien being conclude with terrifying whispers, backed by a 'War of the Worlds' esque melody, hard and tension-building and so wondrously ominous! Stream 'Alluring' in all of its enchanting experimentation above and grab a download here!

MP3// NITE FIELDS: Come Down

2011-12-30T10:24:00.000-08:00

Australia's own NITE FIELDS dropped 'Come Down' yesterday, and with 'Happy New Year' emblazoned upon the cover art, you cannot help but look forward to those twelve, exciting months ahead of us. As a music blogger, 'Come Down' marks the start of another exciting year, and one I'm more than eager to get stuck into! Speaking of 'Come Down' however, I have to admit I love it. The muffled vocals are deep and booming. They throb and thunder over powerful, no-nonsense guitars and an attenuated melancholy easily unnoticed. The start is blown in by the winds of discontent, uneasy and tense and swamped by the lament of many a ghost. You cannot make out individual words, but when a song can get across an emotion without clarity, that is when it words best. Bass notes are utilised exceptionally well here, pulsating below a film of weary attitude. It's more than great, so stream it above!

MP3// Cheerleader: New Daze

2011-12-30T08:59:00.000-08:00

&amp;lt;p&amp;gt;&amp;amp;&lt;span style="background: none repeat scroll 0% 0% yellow;" class="goog-spellcheck-word"&gt;lt&lt;/span&gt;;a &lt;span style="background: none repeat scroll 0% 0% yellow;" class="goog-spellcheck-word"&gt;href&lt;/span&gt;="http://&lt;span style="background: none repeat scroll 0% 0% yellow;" class="goog-spellcheck-word"&gt;cheerleadermusic&lt;/span&gt;.&lt;span style="background: none repeat scroll 0% 0% yellow;" class="goog-spellcheck-word"&gt;bandcamp&lt;/span&gt;.com/track/new-daze-2"&amp;amp;gt;New Daze by Cheerleader&amp;amp;&lt;span style="background: none repeat scroll 0% 0% yellow;" class="goog-spellcheck-word"&gt;lt&lt;/span&gt;;/a&amp;amp;gt;&amp;lt;/p&amp;gt;

'New Daze' is one half of Cheerleader's debut split release, the second being 'Dreamer'. A lo-fi electro-pop duo composed of Donovan Rex and Max Friday, Cheerleader emailed me a few days ago with a link to their Bandcamp page. I'll admit I shoved it to the metaphorical corner of my inbox upon first finding it lying amongst the multitude of musical suggestions and recommendations sent over. I'll also admit that that Eatliz review took a lot out of me, so a stretch of covering some cheerful, summery pop seemed like just the thing I needed. Thus, Cheerleader sprung from the shadows and showed me what I was missing! Four or so minutes of the blissful and relaxed negligence of reality, 'New Daze' isn't revolutionary, but these guys know what they're doing. Electronic notes rustle and crackle under the sun and it's bright, glaring magnificence. As it fades out we're left with nostalgic guitar and an incredible set of whistful vocal harmonies. The drum beat is carefully delicate, carrying the music through corridors of lyrical sentimentality, yearning and longing for that sole cosmic truth we seem to be always searching for. A suitable fade leads into 'Dreamer'. Something about the track seems to prolong its existance, despite being twenty seconds shorter than 'New Daze'! The melody is catchy and the singing surreal. The reverb and instrumentation makes the words often ambiguous, but from this mixture of sound and texture and vocals, you can pluck out emotions and feelings so wondrously easy to relate to! Both tracks are free to download, so stream 'New Daze' up above and check out that and 'Dreamer' here!

REVIEW// Eatliz: Teasing Nature

2011-12-30T07:33:00.000-08:00

Eatliz is an Israeli art rock sextet, experimental and alternative and somewhat sensational! However, when I put the words 'art' and 'rock' together, people tend to conjure up the image of 'glam rock', David Bowie style! They hear mention of 'art' and see platform boots and glitter, theatrical and overdone and fairly flamboyant. I prefer 'avante-garde' instead. Think of Radiohead and 'Kid A'; The Beatles and Sgt Peppers. A fair proportion of people don't associate these musical triumphs with art rock, yet they're considered pioneers of the genre! Eatliz formed back in 2001 and have since released three albums, 'Teasing Nature' being their latest and greatest to date. Within these twelve tracks and forty-five fantastic minutes the magnificent amalgamation of power and passion and individuality synonymous with art rock strides into the lime-light and thrives there. It's not an arrogance, but rather a certain pre-possessed entitlement to the throne of performing. These five guys and leading lady were made to make music like this, and I for one am prepared to bow before their majesty! Every number here manages to exist as a unique construction and yet co-exist as a single glorious entity. Apparently Eatliz's live performances are nothing short of a 'visual treat'. A listen through 'Teasing Nature' and I'm forced to agree. With sounds like these, the group can do no wrong on stage. A captivating and wholly mesmerising experience, this record has over the past few days never left my side. It's an album of acclaim, focused and genre blending in its obvious, unparalleled determination to be great! My adulation is abundant!

'Your House' opens 'Teasing Nature' on an intriguingly ominous, tension-fuelled note. A set of spacey drums and tinkling sonic raindrops patter upon the evening road, the vocals alien in their pitch and subtle reverberation. At 1:20 all the instruments accumulate into an incredible chorus of shorts, the guitar riffs heavy and the pounding drums awe-inspiring. A particularly stunning note at 2:57 is amplified by the softness of its predecessors. It's sang with such beauty and strength you simply cannot hate it. The male and female harmonies in 'Zoo' are apt in their primal and unrelenting supremacy. The quiet delicacy of "bite your head off" made me smile, a technique used throughout the track. Soft moments broken by interludes of fierce, semi-aggressive vibe. 'Berlin's playful guitar reveals an instrumental ability far beyond that of many modern rockers. It has some nice computerised vocals and a layering that builds and builds into this noisy, furious climax. Followed by 'OK', a number full of fleeting echoes and metal-esque backing vocals and riffs, I'm continually amazed at the diversity that Eatliz manage to pull off! 'Falling Up', with all of its abrasive guitar and velvety singing is equally stunning and before you know it 'Got It' has arrived. These three minutes are possibly the calmest on the album, and mark its midpoint with their piano-led melodies and alluring vocal phrases! I'm probably writing too much, but the album's great!

'Lose This Child' is track number seven, Lee Triffon's crystalline singing soaring above the harmonies and trumpet solos and providing the most accessible song on the record. A couple of breaks are fuelled by nostalgic reminiscence as the jazz-inspired vibe lights up a rainy midweek afternoon. The sound of speeding cars is muffled and the few crowds have departed. A singularity comes to light. A purpose. A peace. Disturbed by 'Nine', an upbeat three and a half minutes brimming with confident guitar lines that weave throughout these thought-provoking lyrical passages. 'Voice Over' didn't do much for me other than expand on what we've already heard. The album wouldn't have suffered without it, but the human warmth that radiates from the ending leads nicely into 'Goldie'. Enchanting vocalese from Lee seem to beguile the male singer like a siren of old. The mans repeated lines are sang with a wonderful fascination. 'Tears' and 'Mystical Lady' close 'Teasing Nature'. The title of which is taken from the former track, a number of structured chorus and calm serenity. A beautiful, chaotic conclusion contrasts this, while 'Mystical Lady' ends the album with that perfect balance of eccentricity and accessibility, outstanding production complimenting the outstanding keyboard driven instrumentals. Eatliz and 'Teasing Nature' are simply a must!

Both 'Zoo' and 'Berlin' can be downloaded from free from this sextet's Bandcamp page but in all seriousness the full twelve tracks are worth every penny of your money! Stream the opening track 'Your House' below and then check out 'Teasing Nature' right over here! Head over to Eatliz's website to stream some live videos if you like what you heard - Eatliz!

&lt;p&gt;&amp;lt;a href="http://eatliz.bandcamp.com/track/your-house"&amp;gt;Your House by Eatliz&amp;lt;/a&amp;gt;&lt;/p&gt;

REVIEW// The Black Keys: El Camino

2011-12-29T05:57:00.000-08:00

I've always been a fan of The Black Keys, whatever people say. They fronted my headlong charge into the realm of bluesy garage rock a few years back when an absolute triumph of an album, 'Rubber Factory' landed in my ears. As this American rock duo threw out more and more records however, I came to realise that they never really change anything up. Sure, Danger Mouse collaborated with Dan Auerbach and Patrick Carney in the production of 2010's 'Brothers', but even he didn't manage to wet my taste-buds in anticipation for it. For me, I'm afraid that while consistency might be a good thing, and The Black Keys churn out relatively good songs, their lacking ability to progress makes them a little, well, boring. Yes the band have changed. Before the duo were introduced to Danger Mouse on 'Attack and Release', there was more energy to their sound. There was a raw complexity behind those two guys, behind the mechanisms of the music, and I loved that. Now though, things have become, if anything, simpler than before. More straightforward and predictable the slower the river of ideas flowed. With 'El Camino', my concentration lapsed, and it wasn't because I was tired. You get the feeling The Black Keys are yawning instead, and that puts you off!

In general, most of the songs on here are tiring. With both feet firmly well planted in the silty bed of pop sensibility, catchy and hook-fuelled, something's been lost. Do not get me wrong, the tracks aren't ear-offending, but they are not the attention-grabbing numbers of times past. The first single, 'Lonely Boy' is a nostalgic listen but that's exactly why I am not a huge fan of it. I don't want a modern take on what The Black Keys used to play. Instead, I'm pleading for something new. All that energy that captivated me from their earlier efforts but just a new idea. A new concept. A new theme. On 'El Camino' The Black Keys haven't thrown anything new into the mixture. They're feeding us the same old formula, and I'm for one not prepared to swallow. 'Little Black Sumbarine' reveals a White Stripes influence in an acoustic ballad form, and 'Sister' has an awesome groove. Other than that however, all the other songs are bland, predictable and just not original enough for me to enjoy them. We're seven albums in so The Black Stripes need to start serving their non-hardcore fans something fresh. These eleven tracks aren't worth your time unless you are just that. The epitome of a hardcore fan. For most of us, the album will sound okay. Far from bad, but a fair few miles from being glorious or outstanding or magnificent. I was underwhelmed, and that was without great anticipation or high expectation. Hear 'The Lonely Boy' down below.

MP3// Woman E: Desire

2011-12-28T04:23:00.000-08:00

This whole post is a pretty strange occurrence for me. The latest track from Woman E, a duo based down in London, 'Desire' initially encapsulated everything I don't like about the quality of modern mainstream pop. A basic dance beat is there, unimaginative, danceable and swamped in cold technicality, computerised and produced to the max. However, when we get to the melody and vocals, something grabbed my attention. The sincerity and pain of heartbreak threaten to tug at your own heartstrings, passionate and angry and ever so sad. They pulsate beneath that icy rhythm with a melancholic warmth, and I was, despite a multitude of qualms, impressed. I was determined to find a video. To put lips to the sound they made led me to the live version you can stream above. I openly prefer this version to the other and not just because of Ria Berlin's mesmerising vocal techniques. The trumpet from OoverMatic adds a whole new layer to the music and I love it. Sure the video and the sound are improvised, but the low comforting throb of the trumpet and the more prominent piano melodies are just fantastic. Whatever your musical preferences, go and stream both versions of 'Desire' above and if possible, comment with your favourite! If Woman E tickle your fancy, you can discover more at their fantastically designed website, right over here!

MP3// DUDES: C.O.S.M.I.C.

2011-12-27T08:00:00.000-08:00

I covered DUDES a while back, so returning to the San Diego outfit and their stunning EP 'NARCISSISTS ANONYMOUS' was absolutely fantastic! The group are set to drop another EP in the future, but whether or not 'C.O.S.M.I.C.' will appear on it has yet to be decided. I personally wouldn't mind, because it's a brilliant track! Three and a half minutes of sample infused hip hop, laced with surreal synths, funky chillwave soundscapes and a smattering of beautiful space-age instability. A glorious chaos, offset by interludes of the most serene sensibility. The samples at the start open 'C.O.S.M.I.C.' wondrously, before a passionately angry voice demands a rewind! It is a deliberately humorous introduction, and one that is perfect at doing so. In laying down this less than serious ethos, the whole track retains a similar tone, relaxed and calm and strangely soothing. It's nothing short of outstanding, so stream it above and download it for free via the widget, or by way of their Bandcamp here!

REVIEW// Water Babys: Water Babys

2011-12-26T08:57:00.000-08:00

I have made a promise to myself- to polish off quite an enormous list of music before the new year. A number of albums and EPs that I've found but have never got around to sharing are crying out for attention! First on tonights agenda is Water Babys and their eponymous debut record. Thirteen tracks of classically downtempo electronica await you if you decide to take the jump in this albums general direction. Some songs are worth it and others just don't warrant such a risk. But that's the way life goes, and at the end of the day you get a neat little colouring book if you walk Indiana Jones style into the abyss, with a bit of faith and an open ear. After the rather quaint opener 'Guitar Interlude No. 2', which sounds just as you would expect we're dealt 'F**k Hugh, Grant'. The relaxed amalgamation of electronic beats and guitar is unfortunately offset by the computerised high pitch vocals that accompany it! 'There's a Griffin at the Door' follows with Harry Potter-esque magic and mystery, another beat, this time absent over-produced singing, holding the three minutes together. A great nostalgic and jazz-infused vibe takes hold during the second half, met with a lovely sample and a brilliant lead into 'The Hippo On Campus', a more traditional, but no less electronic track. The much welcomed break that is 'Guitar Interlude No.1' succeeds this and makes a quite beautiful path into the final half of the album. A reoccurring theme among the rabble of effects and techniques, some used well and others not, is that of jazz. The nostalgia. A certain relaxing, soothing ability on the music's behalf to make the hours fly by. Sure, that annoyance from Water Babys to infuse hip hop with everything might distract and detract at times, but when the duo get it right, on songs like 'Radio' and 'Binary Birds', something oh so wonderful occurs. Ignore the misplaced influence from four other artists on 'Denver Sky Light'. Block out the glare of drones from 'Waterbourne'. Water Babys are attempting too many things at too many points in this debut. You might disagree, but stream the truly amazing 'Guitar Interlude No 1', then check out the other numbers at the Bandcamp here!

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;a href="http://waterbabys.bandcamp.com/track/guitar-interlude-no-1"&amp;amp;amp;amp;amp;gt;Guitar Interlude No. 1 by Water Babys&amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

REVIEW// The Fantasies: The Fantasies

2011-12-24T08:21:00.000-08:00

With album art like this I can't believe I have not got around to reviewing these guys sooner! Eponymous in nature, this nine track record from this Massachusetts- born duo is actually their debut, but what a debut it is! Sent over via an incredibly mysterious and intriguingly sparse email, something about this two-piece and their playful ambiguity played on my conscience for a while. With spare time to take a listen, I've already expressed my unbridled apology for not doing so sooner! Simply put, its stunning. Twenty minutes of psychedelic space rock riding atop a surf-pop wave makes for a wonderful listen, and I loved every second of it! As a fantastically care-free and somewhat nostalgic experience, The Fantasies seem to me to be the perfect remedy to any winter blues that may be causing your nose to glow! A record of passion, intensity and individuality, the nine numbers retain a style all their own, supported by the brilliant use of samples, beats and vocals. Accumulating them all into an out-of-this-world recipe, the mixture often bubbles over the rim to glorious, smile-inducing cheers! An apt name for something so beautifully alien and yet so beautiful in its mortality, The Fantasies have created an escape from what is all too often a scarred, barren reality.

The relatively short album opens with 'Gimme Bubblegum', a track that fulfills the oath of dream-pop sensibilities conjured up by such an eponym. The repetition of 'm's and 'b's is a means to soften the hard edges carved out by jangly guitars and the naturalistic drum beat. Decidedly cheerful and all the better for it, the sample at the start of 'Tick Tock' goes some way in offsetting such emotional buoyancy. An older gentleman's quivering lips and down-trodden aspirations welcome vocals more enthusiastic than before! A definite Black Lips influence shows it face, hiding amongst the melodies and excited, frenzied singing. A pretty noteworthy guitar solo concludes the song and introduces 'So Dumb'. Cleaner and less reverberated, it's a croon-worthy, swoon-worthy number, and I admit I did both! These three minutes however are immediately overshadowed by 'Midnight Boogie', which is quite possibly my favourite number on 'The Fantasies'. Permanently out of breath and broken by interludes of screaming teenage fans, it is a beautifully constructed track. Magnificent!

After the melancholic vibe radiating around 'Earth Life', a song about the transcendent nature of the person you love, we're given 'Tammy The Tease'. Backed throughout by this deep and unique groan of sorts, that same cluttered ethos bathing 'Midnight Boogie' goes and makes its triumphant return! 'Turn Me On' follows with great spoken word sections but then 'How The Fantasies Stole Christmas' arrives, wrapped and tied and labelled to you! I almost fell into its mesmerising hum and crackle and beat, collective harmonies calling me with a tribal, ritualistic mentality. In the end though you realise the whole thing is beautifully upbeat and retrospective and considering the date, just perfect. 'Stuck In My World' is the rebellious teen of this album, striking out and swearing and obviously a little bit immature! 'The Fantasies' thus concludes, and I cannot deny that is has brightened up my day! An almighty success, stream 'Midnight Boogie' and then grab all nine tracks at The Fantasies Bandcamp page for absolutely no price at all. For such a non-existent price tag its a must!

&lt;p&gt;&amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;a href="http://thefantasies.bandcamp.com/track/midnight-boogie-2"&amp;amp;amp;amp;amp;amp;gt;Midnight Boogie by The Fantasies&amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;gt;&lt;/p&gt;

VIDEO// ALPINE: Hands (Balcony TV Session)

2011-12-23T10:19:00.000-08:00

Fantastic session with Balcony TV from the brilliant Alpine, whose name I still can't decide how to type. Capitals or lowercase? Either way the live version of their single 'Hands' is an absolute stunner. The wonderful Cassie holds a mini-interview with the two leading ladies, which is very interesting, but if music is your focus then the rendition of their latest number will be more than enough. The introduction loses some power when relayed live, but when they're singing something clicks. The instrumentation from the other four band-members is spot-on, and the vocals are equally, if not more ethereal than when I heard them absent face. It's a great video, so stream above and check out the guys at Balcony TV over here!

EP// I.M.M.T: Childhood

2011-12-23T09:46:00.000-08:00

&amp;lt;p&amp;gt;&amp;amp;lt;a href="http://immt.bandcamp.com/track/somewhere"&amp;amp;gt;somewhere by I.M.M.T&amp;amp;lt;/a&amp;amp;gt;&amp;lt;/p&amp;gt;

As you've probably noticed Christmas day is literally just around the corner. Why then you may be asking, have I shared this with you? Tagged with the word 'depression' over at the Bandcamp, fearing the spirit of Christmas over here to be dead might not actually be that crude or brash an assumption. However, there is something hauntingly beautiful about the two tracks on 'Childhood'. The essence of Christmas past floats between its sonic sheets, taking the hand of the Scrooge in all of us. An innocence prevails, marred by the present failure of man to retain such bewilderment. Labels akin to 'depression' blind our vision and the cruel hand of the modern thirst for knowledge starves us of wonder and mystery. The baby of the twenty-first century is born with open eyes, leaving less to be discovered upon the rupture of those delicate lids. I.M.M.T wishes to reveal this flaw, and I think he does so. 'Somewhere', with children muttering and murmuring is quietly disturbing. It embodies that surreal conscience, lending it an intellectual greatness stolen by the forced learning of an unimaginative reality. 'Childhood' follows as a lighter number. The voices we heard before are becoming lost. They're fading into the busyness of life, and that's a thought-provoking concept. Christmas is often a time to muse, and these two tracks provide the means to do so. Stream 'Somewhere' above and download both songs for free at I.M.M.T's Bandcamp!

MP3// Ghost Beach: Crazy Heart

2011-12-23T07:43:00.000-08:00

Not entirely a Christmas number now. Well not really a Christmas number at all! The latest track from New York's Ghost Beach is 'Crazy Heart', three minutes of electro-rock that fell ten days ago upon their SoundCloud, much to my delight. Hard riffs open the song before the slower, more deliberate beat kicks in. Vocals compliment this aesthetic. Depressed in verse, the singer has mulled over his words for a while. Euphoric choruses contradict this, proclaiming with tangible passion the faults of his "crazy heart". A phrase wrought with the emotions of our protagonist and detailed with his yearning, the words take a new form as the ending draws near. At 2:37 stark computerisation takes shape, void of human voice. A dark and unforgiving abyss, our singer moves away from the edge in a fit of disconcerting fervor. As the final few seconds loom however, a terrfying realisation washes over you. He intends to jump and with final whispered breaths the song ends. Their Soundcloud's here!

MP3// Chalk and Numbers: Happiness This Time of Year

2011-12-23T05:59:00.000-08:00

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;a href="http://chalkandnumbers.bandcamp.com/album/happiness-this-time-of-year-single"&amp;amp;amp;amp;amp;gt;Happiness This Time Of Year (Single) by Chalk And Numbers&amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Chalk and Numbers seem to be in the mood for Christmas! An early present in the form of 'Happiness This Time of Year' dropped into my inbox from the Brooklyn duo so determined to spread the festive cheer. A welcome edition to the blog and these snow-dusted pages, I found it all rather delightful. 60s inspired pop absent warm bass, these three minutes find dancing outside a pleasant alternative to fireside cosiness, and with so persuasive a song as this I'm forced to agree. You can almost taste the crisp air as sleigh bells tinkle, and as the ethereal vocals relay suitably merry lyricism the snow underfoot crunches beautifully. I am incredibly pleased I listened to 'Happiness This Time of Year', and my cheeks are rosy for doing so! Preparing the way for Chalk and Numbers sophomore album, which is all set to drop in February, 'Happiness This Time of Year' has made me just so. Jubilant, joyous and downright jovial. I was almost ready to stop believing in Santa, but not any more! Get this festive song for absolutely nothing at all over at Chalk and Numbers' Bandcamp here!

MP3// Peachcake: What Happens When Santas Sleigh Gets Lost?

2011-12-23T03:01:00.000-08:00

Peachcake have been dissected over here before when I covered their five-track EP back in September! Three months later and here we are with, if you haven't guessed already, a Christmas inspired number from the Arizonian electro-rock quartet! Based around deaths, which isn't as bad as it sounds, 'What Happens When Santa's Sleigh Gets Lost?' is a four minute masterpiece. Written with the hilariously pretentious belief that they could record a Christmas song to surpass all Christmas songs, I choked back the laughter when I arrived at the conclusion that they might have managed to do so! A jangly beat sparks a little foot tapping from the off. Met by the suitably whimsical and wistful vocals, the singer relays line after line of winter joy. "Feigning our best, most vacant smile / But then we really think" is a favourite of mine, but every word here is sang with a contented conviction. Stream above and grab it for free from Peachcake's Christmas grotto. Or their SoundCloud over here! ;)

MP3// Bollywood: Antoiança

2011-12-21T07:41:00.000-08:00

Bollywood. The word conjures up images of bright colour and upbeat, danceable music. A five minute track, the first few seconds of 'Antoiança' dispel such positive assumptions of it's persona. Dark and throbbing and furrowed eyebrows abound, it's a number of gloom. I look out into the murky street and find melodies flitting like shadows. They stare and moan and find any excuse not to smile. Fog hangs heavy as reverberated post-punk vocals cry, lamenting some unknown loss. The word 'love' stands out amongst an ominous drone, the fluctuating guitar strings echoing across wet, grime-fuelled cobblestones. The click of your shoes is almost audible as the song progresses, your ears often exposed to hopeless and horrific screams, surreal in your distance from them. It is great, so stream it up above! Via.

MP3// Lana Del Ray: Off To The Races

2011-12-21T04:55:00.000-08:00

Just found this latest track from Lana Del Ray and I must admit, I'm finding it quite riveting! It's not a video, but I couldn't find a copy of the track that wasn't. Taken from her LP 'Born to Die', which drops early next year, 'Off To The Races' is a considerably dark number and thus in my opinion one of her best. The speed is there and haunting vocals are brilliant in their abundance. Something about the singing, backed by a low, throbbing beat and some hellish backing samples is simply delicious. Split personalities harmonise in parts, split by high, child-like notes that shiver down your spine. Lyrically it's magnificent too, lush and in many ways an example of Lana at her best writing-wise. Monotonous notes pop in and out with epic, soaring synths feeding this girls money-crazed lifestyle. At 2:50 one stark violin enters the beautifully orchestrated chaos. A softer ending compared to the beginning, the verses make my ears swoon. Prolonged notes and a classical, fairytale finish make 'Off to the Races' more of a story than a song. Five minutes of progressive emotion, its stunning!

VIDEO// Strangers: This Year

2011-12-21T04:36:00.000-08:00

Strangers, you might remember threw an EP our way at the start of November, and I recall it being rather brilliant. As it's four days until Christmas, it's probably about time to bring in some festive tunes. The London trio dropped 'This Year' just over a week ago. Four great minutes of sincere pop that ooze a certain retrospective musing, it's a tale of loss. Hopeful determination to step into the new year with a new lease of life seeps from within the lush melodies and pitch perfect vocals. 'This Year' is a fantastically inspirational number, and is marking the way for what's sure to be a wonderful 2012 for Strangers! Hear it above, and watch the somewhat mesmerising video accompaniment that goes along with it. Excellent!

VIDEO// Arcade Fire: Sprawl II (Mountains Beyond Mountains)

2011-12-20T08:44:00.000-08:00

An interesting interactive flip to traditional music videos is the latest experiment from those baroque pop Canadians Arcade Fire. Taken from their multi-instrumental, genre-blending LP 'Suburbs' 'Sprawl II (Mountains Beyond Mountains)' has finally been given long awaited visual attention and the result is magnificent. Regine Chassegne steps into the spotlight in the conventional version of the video, which you can stream above. Her brilliant theatrical tendencies come out in her quirky dancing, upbeat, joyous and completely unstoppable! I found my foot tapping along as she breaks monotonous custom, and I grinned as the face less dancers in the film did the same. From 1:30 to 1:45 my eyes were transfixed. It's just an outstanding set of clips so watch them via Youtube up above. The interactive version is similar, but those with a webcam can experience something amazing. Take part over here!

REVIEW// Yellow Ostrich: The Morgan Freeman EP

2011-12-20T06:48:00.000-08:00

This is hardly a review. More the sharing of an EP. I happened upon this little six track gem only yesterday, however it dropped way back in April last year. Morgan Freeman is a true inspiration for many, so it was only a matter of time until he was sang about! A single line at the bottom of the EPs Bandcamp page reads "Inspired by Morgan Freeman's Wikipedia page". Its a wonderful idea and makes for some fantastically humourous and intutitve music. Some people write lyrics around music. Yellow Ostrich's Alex Schaaf records music about pre- selected words on 'The Morgan Freeman EP' and it's great! Opening with the aptly named 'Morgan Freeman's Early Life', sunbeams shine from the vocals, backed by a startling set of lo-fi percussion. Cutting out two thirds in, we're dealt in its place an acoustic, piano lead harmony, soothing and subtle and undeniably brilliant. 'Morgan Freeman's Debut Roles' is the following number, conforming to the Wikipedia article almost exactly! A smile now firmly planted upon your face, 'Morgan Freeman's Automobile Accident' tries its hardest to make it droop. A sad, slow and restrospective three minutes, a sincere keyboard melody holds a certain fragility and mortality and leads into the next song excellently. An experimental and upbeat twang tinges 'Morgan Freeman's Selected Filmography', before the ultimate, really quite scary ending to 'What Is Morgan Doing Now?' finishes the EP. Available for whatever price you want to pay, stream 'Morgan Freeman's Early Life' down below then go and grab the full EP at Yellow Ostrichs Bandcamp! Also, Wikipedia if you need it is here! Download!

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;lt;a href="http://yellowostrich.bandcamp.com/track/morgan-freemans-early-life"&amp;amp;amp;amp;amp;gt;Morgan Freeman's Early Life by Yellow Ostrich&amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

REVIEW// Dck Vnngt: Mrdr Dth Kll EP

2011-12-19T10:04:00.000-08:00

The Portland, Oregon duo Dck Vnngt (pronounced Dick Vonnegut), consists of Yunsloth and Bloodmoney, two producers who dropped their EP 'Mrdr Dth Kll' just over a week ago. Their debut effort under the abstract moniker Dck Vnngt is a collection of eight tracks. They conclude with a remix by Nasa, a song featuring Adam Warlock! I've covered both artists here before, so their collaboration stoked the fire of my interest accordingly. But we're here for Dck Vnngt, and the music behind so wonderful and ambigous a cover. A seemingly mutated and disturbed version of the Rorschach test, it's easy to identity the doomed accumulation of numerous rockets and missiles and bombs, their sights set on targets beyond our view. Yunsloth and Bloodmoney have fuelled the sound behind such apocalyptic imagery with a sensibility akin to that of cataclysmic fallout. Old-age samples detail a furious land, angrily looting and stealing anything they can. Rationality has turned to insanity for comfort, lying with the devil and hearing his content breathing reverberate against a conscious decision to flee from humanity. White teeth coloured red, sharpened to points as unlabelled meat is torn to shreds. Eyes accustomed to the dark flit back and forth, lips upturned in constant snarls. It's a powerful image, and Dck Vnngt might have just recorded the soundtrack to it!

The EP's name is also a point of interest. 'Mrdr Dth Kll' should be easily transcribed, a title with the very darkest connotations. These unsightly thoughts weigh down heavy upon your mind as the opening track 'The World Is An Animal' rears its ominous head. Off-kilter drums are beaten with furious energy, smothered by a low, tribal throb that could summon demons from the bowels of hell itself. Hints of a melody crawl between verses, a flucuating growl pulsating during its three minute lifespan. "The world is an animal that eats it young" goes one line, the words spat with a hatred of modern animosity. "Razors under tongues" concludes the track with a punch to the gut, highlighting the sly, back-stabbing horrors of materialistic nations. It's a thought-provoking notion and one put across fantastically! The second number here, 'Audio Opiates' is simply stunning. As the name suggests, narcotic vocals back the main lyricism. They lament an unknown death, dripping in reverb. Echoes dance amongst shadows, creating a certain beautiful surrealism. A spoken word interlude talks of churches and Sundays, haunting the vocalists nightmares, riddling them with guilt.

An eerie melody crackling with age runs through '10 Steps'. A great sample and some equally nice references to David Blaine and doctors and suffering make this track one of the best lyrically, and leads into 'Weekend at Gadaffi's'. Truly terrifying, almost possessed samples are met with busy and confused production and a subtle, alien tone. The ending makes this song for me though. Everything fades out and words are spoken but you don't know what they say. Sounds echo through some sonic space before the conclusion finally arrives. All these techniques accumulate to form 'Weekend at Gadaffi's' and I just love it!

'Bombs Not Rations', apart from a few references to Blacks Ops and Middle Earth and Meccano didn't actually impress me as much as some tracks on 'Mrdr Dth Kll' so I'm rather surprised that was the one chosen for a remix. The ambient backed sample of 'Lost In A Time Warp' and the noise filled, careless nature of murder expressed on 'War Daughters' both surpass 'Bombs Not Rations' in my opinion, but there you go. The psychological and dictatorial trauma displayed by the end of 'War Daughters' closes this EP on an incredible note. The presence and substance behind what is in the end only their debut is a simply astounding feat from Yunsloth and Bloodmoney as Dck Vnngt! 'Weekend at Gadaffi's' can be heard below, then grab all fourteen tracks for free from Uncommon Records over here!

REVIEW// Coldplay: Mylo Xyloto

2011-12-19T04:47:00.000-08:00

I realise that as an independent music blog Coldplay probably aren't a band you'd expect to find covered in its pages, however a number of people have asked of my opinion regarding the London quartet's new album 'Mylo Xyloto', so I thought I'd adhere to their wishes! A fourteen track effort, this record is first and foremost a concept album, detailing the lives of Mylo, and you got it, Xyloto. In terms of the title I've got nothing against it. Some folk label it too hard to pronounce, or find some strange Balinese translation. Take it for what it is guys: the names of the two protagonists. The album art has also been picked out by some. Pink and purple are too pop-orientated for Coldplay's fan base? The truth is that's exactly what 'Mylo Xyloto' is. Pop-orientated. Chris Martin and Co. have stripped back their sound and thrown in some elements that might put a frown on the faces of long-time fans. I don't like the album for this reason. Not the cover. Not the name. It's the shift in sound that does not click with me. It feels over-produced even despite the infamous Brian Eno working with the band. It lacks originality and that deep emotional connection albums like 'Parachutes' had!

Opening with a forty-two second introduction, the title track glitters and hums with the inclusion of synths, a sensibility rarely heard in past efforts. Its been there, most notably in 'X &Y', but never as domineering or obvious as here. 'Hurts Like Heaven' follows with nice oriental flavours dusting the track. At this point I am ready to accept and enjoy a different sound, and it does turn out to be one of the nicer numbers on the album. Rock roots and dance-pop vines intertwine to form a steady, pleasantly upbeat tune. I've settled into their new groove with an instilled sense of confidence and anticipation, but then Coldplay hit us with 'Paradise'. Not quite an abomination, but it comes close. The chorus is catchy, but it's a pop trick of sorts, sang with unoriginal, yawn-inducing repetition. The arrangement is an outstanding example of Coldplay pop done well, sure, but the lyricism is absolutely dire. A shocking opening line goes "When she was just a girl / she expected the world / but it flew away from her reach / so she ran away in her sleep". Another particularly bad section is a truly abstracted: "Life goes on, it gets so heavy/ The wheel breaks the butterfly". Lacking conviction and never really explained, 'Paradise' grates on my nerves. Lead single? Bah.

The out-loud comical belly laugh induced by Martin's chipmunk expression at the start of 'Charlie Brown' made my heart sink despite it's humourous execution. 'Every Tear Drop is a Waterfall' attached another weight to it within thinking twice. It lacks the hook required to salvage itself from Johnny Buckland’s pitiful attempt at a danceable guitar riff. 'U.F.O's a pretty nice song at the start. Stripped back and delicate at heart it reminisces past tracks, perhaps most obviously 'X & Y's 'Til Kingdom Come'. A vulnerability seeps through, and I enjoyed it. Coldplay were way too eager however to patch up the leak with unappreciated and unnecessary production. Rihanna's contribution to 'Princess of China' worked well. If you can look past the highly unimaginative rhymes: "Once upon a time we burned bright / Now all we ever seem to do is fight", then you might be able to appreciate it for what it is. A catchy song elevated because of Rihanna's experience in the genre, or because Coldplay tried to conform to her style? Perhaps. 'Up In Flames' acoustic simplicity is fantastic, as is 'Don't Let it Break Your Heart's throbbing conclusion. The ultimate song on 'Mylo Xyloto' is okay. The story of Mylo fleeing the city to avoid a run in with a gang, Coldplay seem to be running out of ideas. Rhyming 'pain' with 'rain' made me cringe more than a little though in truth the calm swelling of the drums leads the album to a pleasingly graceful, fragile finish!

All things considered this isn't an ear-offending effort, but for three years in the making I was disappointed with what they unveiled. Heavily produced with brilliant lyrics thin on the ground, underwhelmed is an apt summary regarding Coldplay's fifth studio record. It is an adventurous album, evolving in style along a route the band hadn't explored. Conceptual in execution, these fourteen tracks relay a tale of two lovers In this respect 'Mylo Xyloto' is perhaps the most 'together' album Coldplay have recorded! However for me, I'm afraid an incredibly positive review was never on the cards. If I were you I would stick with 'A Rush of Blood to the Head'. Unlike this it doesn't cause a headache doing so. Congratulations are extended to Coldplay for trying something new, but an uncertainly and lack in confidence while recording 'Mylo Xyloto' hinder its potential. I'd stream 'Paradise' below, but I would be surprised if you haven't heard it already. The album is readily available from music stores.

MP3// Sleigh Bells: Born to Lose

2011-12-18T07:18:00.000-08:00

My review of this duo's album 'Treats' was particularly damming, but I stand by what I said. "Musical bombardment" summed up my opinion quite nicely, and I still think that this simply relentless ethos Sleigh Bells radiate doesn't work on prolonged saunter into their dystopia of a world. As such, please excuse my lack in eagerness to hear 'Born to Lose', the title of which hardly emulates a change in pace. In my ongoing quest for good music however, I'm pleasantly surprised to say that this Brooklyn two-piece might have delivered on this sonic crusade of mine! The four minute number opens with those same drum-machine phrases that have become a key characteristic of the band, but rock-orientated power guitars give a certain pounding, throbbing rhythm to the song, which I love. The semi-ethereal vocals are supported by furious harmonies, an appealing contrast emerging between the two. At 1.40 both a shift in volume and tone makes for a very interesting listen. Guitar lines lick at the subtleties brought out by the backing track, and as the end draws to a close, you can appreciate the slow, foreboding alien throb presiding over it. Stream 'Born to Lose' above!

VIDEO// Marina and the Diamonds: Part 3: The Archetypes

2011-12-18T05:14:00.000-08:00

The third part to Marina and the Diamond's project 'Electra Heart' dropped recently, and a certain look of pleasant surprise erupted upon my face. I'll admit I'd never sat myself down and listened through the previous parts to this series of tracks, but after 'The Archetypes', I simply had to. For me part two (Radioactive) doesn't click like part three. A platform for a thought-provoking statement, this one minute raises more questions than the other songs combined. For those who don't know Electra Heart, she's a character who "epitomises and embodies the lies, illusions and death of American ideologies involved in the corruption of self." Marina stands against a crackling white backdrop as an electronic voice relays some truly engaging and muse worthy lyricism: "A study in identity & illusion / An Ode to Cindy". I am extremely impressed by 'The Archetypes'. Short enough to be an interlude of sorts, an illusive cosmic truth hides within the lines. "Through others, we become ourselves”. True?

MP3// Memoryhouse: The Kids Were Wrong

2011-12-18T03:48:00.000-08:00

Memoryhouse have been likened to Beach House. It's a fairly honest comparison to make, as both sounds are built upon chilled out, dreampop foundations. Memoryhouse is also a duo, a characteristic not unbeknown to fans of the Baltimore outfit mentioned before. This latest track, the first from Evan Abeele and Denise Nouvion's debut album, an effort set to drop at the end of February, is entitled 'The Kids Were Wrong'. Despite all of its rebellious connotations the music behind this name is as soothing as ever. An upbeat number, these fantastic vocals emerge from the sun laden beat. A reverberating melody lifts the content, sigh-soaked lyricism up into clouds that feel heavy with memory and the strain not to rain. Futile grasps at a summer long gone makes Memoryhouse and a debut album seem very exciting! Stream 'The Kids Were Wrong' above and relinquish your email for a download!

MP3// Autoheart: Control

2011-12-17T07:25:00.000-08:00

Danton Supple should be a familiar name for any Coldplay fan. The producer of 'X & Y', a classic album for many, Supple's talent looks set to place Autoheart's debut on a pedestal of similar acclaim! 'Control' is the lead single from this forthcoming record and at a current download price of absolutely nothing, it's well worth checking out. A quintet formed in East London Autoheart record a rather brilliant form of indie pop, laden with keyboard melodies and lead singer Jody's melancholy vocals. Previously known as The Gadsdens, the group has fortunately traded that in for a name much easier to pronounce. Fear not however, for a shift in style just doesn't seem to be on the cards for Autoheat and it's just as well! Their previous single 'The Sailor Song' was met with widespread praise, and after listening to it I too wanted to hear more of that same lush, beautiful sound. 'Control' didn't disappoint. An incredible number backed by great bass and subtly danceable drums, these four minutes moot a relationship predestined to flounder. It's a relatively common lyrical theme but then Autoheart manage to lend it a whole new lease of life, and I adore them for doing so. The melody for the chorus is a bit on the unimaginative side from 0.55 to 1.05, but the quibble is hardly worth mentioning when you consider the rest of the song. It's magnificent, quietly sad and everything in between. Extremely strong and yet ever so delicate, 'Control' dries heart-broken tears with its promise of hope. Stream above and await the album next year! Download it at Autohearts SoundCloud page or alternatively get a copy via the Facebook!

MP3// Sad Souls: Meandering

2011-12-17T04:31:00.000-08:00

Sad souls meandering. It's an incredibly evocative image painted by an incredible number. Recorded in the early hours of the morning, that eerily beautiful sense of quiet, emptiness and the dawn of a new day is somehow empowering. I could listen to that first quarter for a very long time, and while the surreal vocals work well, I'm split between distraction and the busy nature of their implementation, reverb fuelled and bubbling just under the surface. A fantastic track with or without them, these three minutes bear witness to the awakening of the world, and I love it. Concluding with ethereal harmonies and deep breaths of this crisp, unpolluted air, 'Meandering' is a song to get lost within. Truly brilliant, stream it up above!

MP3// John K. Samson: When I Write My Master's Thesis

2011-12-16T10:34:00.000-08:00

John K. Samson is the rock alternative to Sufjan Stevens. There is all that intelligence and elegance, and even some vocal similarities, all backed by jangly guitars and uplifting drum phrases. He's a truly talented wordsmith, pulling lines of beautiful lyricism from nowhere, a skill I've always revered. Supported by powerful and inspirational rock sensibilities he gets his thoughts across ever so well. A smattering of nostalgia dusts these three minutes, and subtle reverberations detail the swathes of sonic sunlight beaming from your speakers. An incredibly cold winter day it may be, but John K. Samson is determined to remind you all of summer, weeks laid out in front; the world at your feet! Taken from his forthcoming record 'Provincial' which drops on January 24th, stream 'When I Write My Master's Thesis' above.

VIDEO// Lana Del Ray: Born to Die

2011-12-15T10:37:00.000-08:00

Finally the official video to replace that semi-naked placeholder has arrived! The visual to Lana Del Ray's recently released title track 'Born to Die', taken from a forthcoming record out in January, the film contains within it some pretty stunning moments. One, there are a couple of live tigers mulling over their need to guard Lana's fancy throne. Secondly, there is revealed really quite a vulnerable side to the American pop princess. From the start she seems confident, straight-backed and austere in her retrospection. At 1.17, shifting eyes and an uncomfortable fidgeting make you want to walk in and soften her obvious sadness. By the end however, you realise her split or argument or uncontrollable love for this tattoo laden man has made her stronger. Delicate throat-slitting gestures and the final shocking moments validate my love for both Lana Del Ray's music and her acting. Ever so often the line between the two becomes blurred, her passion and sincerity really shining through. A simply wonderful concept just magnificently executed. Stream and hear 'Born to Die below.

UPDATE// Mutineers

2011-12-15T10:06:00.000-08:00

When a band I love email over with news of their success it more often than not makes my day! I reviewed Mutineers album 'Friends, Lovers, Rivals' quite a while back, praising what is a magnificent collection of tracks. To discover this Mancunian outfit have recently had a spate of sales running into the thousands, well I haven't stopped grinning! Also, guess the group currently trending on Twitter in Manchester. That's right: #mutineers. I'm truly in awe of this quartet. They thoroughly deserve the success they receive, and I urge your good selves to seek them out as well. I assure you the fuss is well-founded! Read my review of their debut album then go ahead and follow these rebellious Mutineers via Twitter. Review.