Here is a truly awesome mixtape from Dumbo Gets Mad, of 'Elephants at the Door' fame. If like me, you're busy enjoying the last few hours of your holiday, or simply relaxing on your Sunday morning, stick on some headphones and 'Palomar 1' and you're sorted. The hour long track dropped five days ago from the Italian pysch-rock outfit, who's moniker is obvious to those who have watched Disney's 'Dumbo'! There are some truly thought-provoking questions posed within those sixy minutes, broken by swirling psychedelic clouds of soothing instrumentals and expressed through samples of the greatest quality. From the old-fashioned muse at 20:55 to the foot-tapping track at 27:20, every second of this mixtape has been sought with a striving passion. The track swells from slower moments to moments racing with beat-heavy dance sensibilities. Experimental moments dream, contrasting with extremely comfortable interludes that hold back and seem content with what is, rather than what could be. However, even when the track is this varied, Dumbo Gets Mad still manages to tie it all together. The transitions are so, so subtle, yet bring sections of earnest enmity into warm embrace, a feat polished and perfected by very few. Available as a free download, stream the whole thing and then grab it over here!
'Carnival' is the debut EP from Jonny Litten, and it's a collection that oozes brilliance. The four tracks, recorded in just under a year, brim with electro-pop vibes, rushing towards your heartstrings and lacing them with ambitious instrumentals. The opener 'Ratuir', which you can stream above, sees magnificent synths thunder across a white soundscape, expelling chilled snow like dust from behind them. That being said, there is a warmth emitted from their presence. A certain throbbing comfort that fills you from head to toe, vibrating through your very being and lulling your restless eyes shut. A momentary lapse of consciousness, yet one that feels infinite. Affected vocals compliment the synths wonderfully, warping and twisting through a grand ballroom of beats. Every note is individual, but a cosmic alignment seems to bring them together, merging and embracing and coaxing your feet to tap. The production here is simply fantastic, and no sooner does the abrupt finish of 'Ratuir' quench this sonorous river's flow than 'Black' pushes it on. A shorter but no less stunning track, the clearer synths take centre stage. Void of vocals, the power and refinement of the unwavering frequencies race across evening sky. Clouds explode, raining down drops of pure joy. A certain, underlying sadness does however prevail through every song, offset by the euphoria of it all but still very much present. You can almost feel Jonny's willing emerge from the music on 'Carnival', a year of work worthy of every scrap of praise we can offer it. You can almost taste the tangible prayers of Litten, a man proud and humble and passionate, yet I fear far from the recognition he deserves for such a creation. 'Somewhere Else' glimmers with a much more delicate touch, softer lo-fi sensibilities waving in an extremely subtle chiptune-esque breeze. The glittering synth melody of 'Forest' is beautiful too. Nothing else. Just, beautiful. A strange lament, epitomised by the gorgeous harmonised vocals, lifts the mood. Layered sound crafts a vast world all to itself. No people. No noise. No hassle. Just Jonny Litten with his thoughts, expressed in a manner quite lovingly concluded. The sudden finish on some of the other songs is a flaw, yes, yet one almost completely blotted out by the bulk of 'Carnival's fifteen minutes. Available in a name-your-price fashion here, I urge exploration!
While siphoning through my emails, I came across the title 'Music + Colours'. Intrigued and excited by the theory that colour has a direct relationship with sound and vice versa as I was, I continued to listen through this EP, from the Australian outfit of the same name. While his eponymous 12" and indeed the email were more a play on that name rather than an exploration into colour synesthesia or subject matter of the sort, the door I opened lead into a creation all together more satisfying. Four tracks of the noise-pop persuasion ring out, dusted in a subtle, lo-fi sensibility and yet overtly confident in their delivery. Sound surrounds you, swelling and building and filling a space so wonderfully airy, and yet detailed in a manner quite unbelievably captivating. The opening number 'Could I?', which you can stream above, emerges from a silent emptiness, colouring the gray scaled world in splashes of brilliant vibrancy. Bright, unwavering purples spring from solemn gray, flecks of orange falling from warm browns like tired autumn leaves. Summery reds and yellows splatter across walls of uninspired white, layering upon each other like unrestrained weeds. Tangled together and intertwined as such, they form something all together different. The spectrum of sound and colour as one reveals a certain unity and natural order far beyond the ability of one without the other, coaxing forth thoughts and images and ideas that excite even the most uncreative of people. 'I've Watched You Suffer', with it's pronounced vocals and memorable hook follows, before a suitably intense, noisy finish leads into 'Sleeper', the penultimate track. Throughout all these songs, one thing you notice is that even through the busyness of it all, a melody and beat still find their way to the forefront of the music. In a way, the noise ties everything together, ordering things with its primal, sprawling grasp. 'Sleeper' is no different, a confident rhythm taking shape amongst the beautiful chaos. A glittering, echoing end introduces the final number, 'A Thousand Words', which seems to me to be the most accessible. Obvious verses are broken by instrumental interludes that build on everything that's gone before. The second half is particularly fantastic, opening with crystal clear notes astride strong, powerful beats. The sounds grow and grow, and as the end looms, tower above everything in an awe-inspiring, celestial mass. Its cheeks are coloured and muscles highlighted by a light unlike that from any fire or electric bulb. Tom Crandles has dreams. Dreams that throb and pulsate under glaciers of the modern incapacity to hear the beauty and ambience and atmosphere underneath the noise. Truthfully, I surprised myself by how much I enjoyed Colours' EP. It's well worth a listen, and maybe even a purchase? Stream the first track 'Could I?' above, and pre-order all four songs from Tom's Bandcamp page!
London-based trio Real Fur actually dropped their second single 'The Fool' a few months ago, and after the astounding success of 'Animal', which I loved, the song seems to have amazingly, slipped from attention. Nevertheless, upon receiving an email from their press, I was immediately at the computer and ready to sing the band's praises over both the track and the video that goes along with it. The group records a certain tropical brand of intelligent and unbelievably charming rock-pop that never fails to draw smile from pouting lips. There is something about the Talking Heads-esque quirks, and an aroma around the African-inspired rhythms that has that extraordinary ability to salvage even the most destitute of moods from the most sleepless of nights. Onto 'The Fool', its funky riffs and soothing vocals hang in a state of warm, reverberating semi-presence. While underlying lyrical tension grounds the music, those playful, transcendent beats try ever so hard to lift it from human grasp. Echoing guitars wander lost, driven forwards by Real Fur's passion and yearning and sonic maturity, and yet through it all, you get the overwhelming feeling that they don't take themselves too seriously. It's a truly touching combination. Mature and yet unrestrained. Refined and yet shining with the subtle, charming imperfections that fill every line. The London trio manage to tie them all together in a manner both wonderfully refreshing and wonderfully smile-inducing. I eagerly urge a watch of 'The Fool' up above!
Before I get into the post, the cover art for this EP was too good to pass up on, so I fiddled about with it and made it into the image you can see above. Would the music live up to the hype the art enthused however? That was the question I pondered before the answer of 'most definitely' settled in my ears. Mode7 is one guy from Portland, and his sound is one of scope. It throbs with an experimental pulse, while the beats retain a noisy, yet strangely danceable sensibility. The intricacies of the music boast rough texture, the sonic details scattered near and far, sculpting and refining the soundscape to create something captivating and lush and all together fantastic. 'Space Matterhorn', which you can stream above, cuts the last of the evening light and starts the descent of dusk. What may initially appear very inaccessible and difficult to get, as the song progresses and the beats kick in, you realise everything works, and rather than hearing noise, you hear every individual note and scrape and click and subtly the track has to offer. From the offset, water drips and sprays off cavern walls, echoing through the calm and coaxing dark, eerie sounds from the gloom. Deep, oozing synths slide across the floor, highlighted by flecks of light bounced from many a wall. The beats shoot like lasers from unknown vantage points, building and layering to form an unexpected anticlimax. A thoughtful step back from the noise slowly loses control. A need to be surrounded by the natural, primal urge of it all, you return to the middle of the room and stand, stunned into silence. 'The Grudger' follows as an equally intriguing number, before 'Abort, Retry, Fail?'s extended alien finger massage your mind. I haven't got enough time to go into detail about every track here, but believe me, I could. The amount of texture and sound and experimentation Mode7 has managed to cram in is nothing short of masterful. From the gritty reality of space, alone and without comfort, surrounded by metal and sharp edges and processed food, we're dealt 'Rainbow Blood', a higher key melody throbbing and rushing amongst celestial magnificence. 'Ghost Spinners' closes the EP, giving voice to the voiceless, and realisation to the unwilling to realise. 'War of the World'-esque whirrs and groans take form, bearing teeth and many a prying claw. A living, breathing collection of tracks, they each break free of modern musical restraints, exploring far into the world of experimentation, a quality I admire in both the sounds and the artist who bore them. I could not recommend this EP highly enough. If nothing else, it deserves a listen at least?
After listening to (and loving) Mancunian trio Hot Vestry and their EP, 'Dust', I was more than eager to interview them to find out more. A trio composed of Harry Ward and Will Taylor, I chatted via email with third member, drummer, and all-round percussionist Joe Ward, to see what I could dissect. Read the interview below, and when you're done, check out both my review and the free download of all six tracks via the links at the very bottom!
Music Dissection: First off then, I know you're a trio, but how did the three of you come together to form the band, and how did the name 'Hot Vestry' come about?
Joe Ward: We first met Will when me and Harry were two weeks old. (me and Harry are twins). We have been best friends ever since really. The name 'Hot Vestry' came about when we practised in the local church. We kept the microphone stands in the room in the church called the Vestry. One day, as Harry and Will were walking into the room, Harry pulled the cord above his head, while Will switched the switch on the wall. They thought nothing more of it, as they both thought they'd turned the light on. We practised and put everything away and that was that. A couple of days later Steve Rathbone (the Vicar) phoned our mum. He said how hot the Vestry was, and how it felt like an oven! He said it was a 'Hot Vestry', because someone had left the heater on! Luckily he likes us so he wasn't annoyed. So we were like, lets call ourselves Hot Vestry, after nearly burning a church down!
MD: That's fantastic! Now, I hope you don't mind me saying, but you're quite a young band, age-wise. How did you manage to get an EP recorded, and what advice would you give to an aspiring group who want to do the same?
JW: We found someone local who recorded bands, so we got in contact with him and asked if he wanted to record us. He'd worked with Babyshambles so we were pretty nervous and thought he wouldn't want to waste time on us! He said yes and we set a date and a place where we would record. We recorded in our local church, which probably added to the sounds of 'Dust EP'. It ended up being quite an amazing place to record music, especially for us and for him! We'd advise a young group who wanted to record to probably find someone local, or maybe a friend who does or has done Music Technology at school. They would probably record you for free, or maybe for a small price. The quality of the recordings should be good enough to get you gigs in your local big city, and take you further afield in your musical careers!
MD: So, you and Harry are twins. Growing up, what influenced you most, music wise? An artist or band in particular that inspired you to record music?
JW: While we were growing up, I'd say we were mostly influenced by bands like Green Day, Oasis, The White Stripes, Bloc Party, System Of A Down and Arctic Monkeys. Mostly well known guitar bands. I think the band that influenced us the most at the start was probably Green Day. Now we're influenced by New Order, Metronomy, Television, Pink Floyd, Blur, Joy Division, Radiohead, Nirvana, The Beatles, The Horrors, Airship, Hot Chip and LCD Soundsystem to name just a few!
MD: That rock influence certainly shows up in your work, and as far as I can tell, people love it! As the band progresses and you record more music though, do you think your sound and style will change? Is there any particular genre you want to explore more in the future, for example?
The excellent cover to the 'Dust' EP!
JW: Thank you! I hope they do. Our style will definitely change. If you listen to our first EP 'Life Is For Leisure' you can hear how we have progressed on 'Dust' EP. And with our third EP thats being released soon, we've changed a lot more. As we've said, we are intrigued by lots of music. The drops in Dubstep interest us, and how songs can just change into something completely different. As you can hear in our song 'Commiserations', the bridge drops quite like a Dubstep song would. I don't think we are aiming to be any type of genre or trying to fit in with a certain type of music. We just put bits of genres that we like into our music subconsciously. I think thats a natural way to make the music you want and enjoy. If you try and be something you're not it won't be fun and it won't work!
MD: Very well said! Having listened to both EPs, the band doesn't seem to be short on great lyricism! Do you take turns to write, or do you sit down and come up with the lyrics together? Do you have any favourite lines?
JW: Thank you! We don't really take turns to write, so while we do write some lyrics together, Harry mostly writes them by himself. I think its best for the singer to write the lyrics. If the the signer doesn't understand the lyrics, I think that takes away a big element of what a singer should be doing. If Harry sang lyrics he didn't understand or could relate too, there wouldn't be any point in him singing them! Our favourite lyrics are probably from the chorus of our song 'Dust'. "You've got to help me hide / you got to help me / you're going to watch me cry / you're going to watch me / you've got suspicion in your eyes / you've got suspicion in your eyes / you're the ruby in the dust / the ruby in the dust". When Harry sings it, it goes really well with the music and the words work together well. The whole feel of desperation makes it easy to relate to as well, especially as it's in first person. Its a chorus that people just want to sing back!
MD: Drawing to a close then, you mentioned a third EP earlier on. Any idea on a release date, and after that - can we anticipate an album?
JW: The third EP will definitely be released before Christmas 2011. And yes, an album is also on the cards. We're trying to decide on the best way to release all this new music, as we want as many people to hear it as possible! Thank you for taking the time to interview us Music Dissection!
And there you have it! Music Dissection's first interview, with three extremely friendly and incredibly gifted guys, Manchester's very own Hot Vestry! Thanks are extended to all three of the talented teens, and I hope anyone and everyone reading this is already downloading their work (at no cost, as though you needed any more incentive) over at the Bandcamp. I for one am keeping an eye out for that third EP, and you can all look forward to a review when it drops. For now however, lend your ears to 'Dust's stunning title track!
A while back I covered Peachcake's five-track EP 'This Wasn't Our Plan', and while 'You Matter' wasn't my favourite track, it certainly didn't take away from the trio's unique brand of electro-pop. Elemental Tea's remix however, makes me wonder why that was so. Maybe coming back to it after time or seeing it under a new light has altered my perception, but both this and the original are incredible, and I can't help but frown upon my initial disregard for what is obviously a stunning number. It's a care-free song, simmering under a film of glittering reverb and tinkling synths. Ambient sensibilities seep in here and there, and while the lyricism isn't the most varied, the lines are undeniably memorable. At 2:30, a pretty epic chiptune build climaxes under a vast canopy of laughter and joy and that same comfort you get from knowing the weekend is on the way. Both this, the original and indeed the whole EP are well worth a listen, so stream it above and grab them over here!
I know very little about Total Babes other than that they're from Cleveland and they have a pretty awesome band-name. Oh, that and they completely rock! Thanks to the guys over at Album of the Week for uploading 'Like They Always Do' to the SoundCloud, 'cos this is some seriously good lo-fi punk-ridden pop right here, and without them I'm pretty sure I'd have missed out on it. Kicking things off with some pretty nice guitars, something is lifted as we're lead into the bulk of the song. Either some muffle has been taken off or more instruments have been layered on, but heck, it works. The vocals are suitably loud, and indeed it's the prolonged notes, drowning in reverb, that make the track for me. Two thirds of the way through, there's a subtle shift sonically that I also love, with some gorgeous low notes thrown in as the finish draws near, but really, the whole number shines from beginning to end. Stream above and hear more from Total Babes over at the Bandcamp!
Hailing from Manhattan, Wild International only have one track on their SoundCloud, but hey, what a track it is. 'Creeks' is one of those songs that isn't overly impressive at the start, but as you listen and re-listen, you're drawn into its summery vibes with intentions of never letting go. A stream trickles down from some mystical source at the start, sprouting out in all directions and meeting up with some simple, smile-inducing guitars. The vocals aren't the most unique or memorable in the world, but does that matter? Paired with melodies like these and a natural, subtle beat, they gain an importance within the music that you can't help but adore. They relay some thoughtful lyricism, but its the structure of the song that really got me interested. From a slow, calming entrance, the sounds layer on top of each other and build to a wonderfully energetic climax. Louder, faster, the vocals shout with an undeniable passion, and in the background, animals croak and chirp along with them. Shakers detail the noisy celebration so subtly, but as the finish looms, the lush layers of sound peel away. The song ends as it began, and I just loved every second of it!
If you'll care to remember way back to yesterday, I posted a track by sixteen year old Pete Harley, and here's something very similar, by Suffolk born Dissonant Child. He dropped 'Sugar' onto my SoundCloud last night, and the same post-dubstep sensibilities crop up, be it astride waves of glittering synth. They ripple through valleys of confident rhythm, detailing the landscape and blown by a warm, chill breeze. Epic, towering synths give the whole track scope, as though you're looking into the sky on a cloudless night, admiring the stars and musing on the notion of your own mortality. Melodies play off the beats with experienced agility, and that one prolonged drone in the second half works incredibly well in making the lush vibes seem even more uplifting. It makes you realise, with so abrupt a finish, the variety and subtly of sound Dissonant Child's managed to squeeze into the track, layered together to create something both unique and so beautiful. Stream above!
Charles Bradley is a wonder. Commonly referred to as the Screaming Eagle of Soul, he is so full of passion, energy and drive it's difficult not to be touched by his voice, stripped bare of gimmicks and autotuning and unnecessary effects. His voice is human. His voice epitomises the relentless ability of man to carry on and to never give up. To stand tall and to pull together, Bradley's singing hits home. There are no words to truly describe the effect he has on you however, so just have a listen up above, and ponder the world over.
Two new tracks here from Atlantan psychpop duo Kris Hermstad and Derek Burdette, who seem to be having quite a year. From their eponymous debut record, they've managed to pump out the equally fantastic 'Up!', and now we're being treated to these two promising numbers. An intriguing mix of ambient, experimental and lo-fi pop, something magical seems to sprung from the cooking pot, so to speak. New Animal has managed to ride astride the mound of praise built up by their previous efforts, and it lifts them high into the air. Supported by failed attempts and lessons learned, you get the impression these guys have worked hard at what they do, and now, they've found that combination that just rocks. 'Still in Mind', which you can stream above, is most definitely the more ambient of the two songs. A tinkling build rises softly from ashes, swirling in deep sonic space to form a creature of unimaginable pleasure. It only lasts for a couple of minutes, but those seconds are a wonder, and worth a spot in living memory until that too ceases to be. Echoes and reverberation and lush waves of muffled harmonies lap against the shore, before an ever so quiet melody closes the show. From small to large and back down again, there is a tangible sense of closure to the track, a door immediately opened again by 'Don't Think I'll Make It Through Another'. The more accessible of the two, a heavier pop quality retains the lo-fi honesty of the previous number, but the experimental edge is blunted by its subdued grasp on the track. Nevertheless, I love it, and I hope you do too. Download both the songs for free and listen to loads more over at their Bandcamp page!
Sixteen year old Pete Harley dropped this onto my SoundCloud only yesterday, but I've already must have played through it a dozen times! A post-dubstep vibe runs down the back of 'Alive //', injecting life and rubbing warmth into its cold sonic cheeks. The music breaths, and its hip hop heart beats with a steady hip hop rhythm, pumping sampled riffs through a body that tingles with good vibrations. There's enough variety to keep things interesting, and a slowed down finish, popping and crackling with nostalgic reminiscence, ends things brilliantly. It's well worth keeping an eye on Harley, so stream above and have a gander at some of his other tracks over on the SoundCloud, while I wait for new songs!
Yet another awesome EP here, this time from Samaritan, AKA Norwich-born producer Sam Martin, whose name bears a striking resemblance to that of his moniker. A set of four dark and yearning tracks, they each explore a realm rife with the haunting desolation of men unheard and perpetually alone. They fill the crushing silence, yet amplify its vast loneliness. You walk through towering, unholy forests of whispering pines, only to sway at the edge of a mighty precipice, looking down into the heart of human suffering. No flames lick at your soles however, nor do demons growl and grunt from cages of ligament and bone. Instead, without breath or heat or warmth, there lies a plain so immeasurable in scale your soul cries away at the sight. Your heart drops, and at the same time, so does that of all humans. For that slightest of seconds, the pain and lament of eternal solidarity is so far-flung it passes the barrier of conscience control. It seeps into the mind of everyone and leaves so quickly you hardly notice it was there at all. A seed of doubt has been planted, and the waters of hatred and jealousy and greed drip slowly down with baited breath. 'Don't Try Love' is the soundtrack to an emotional purgatory, and infects your thoughts with ideas so powerful they could bring the world to its knees with one apocalyptic flood. Stream the title track above and hear the other three at the Bandcamp.
The Canadian artist Celista dropped this delightful little EP over onto the SoundCloud little over a month ago, and it's full of endearing electro-pop to warm the heart and lift the soul. A five-track collection, something about it humbles. Something about its poise and grace directs it to a back-seat to make others feel taller, and yet it so very much deserves to be centre stage, bathed in celestial spotlight. Opening with 'Warm Autumn', an orchestral harmony fills the space between reality and imagination, merging the line between what is, and what could be. A simple beat is elevated beyond its position, but handles so gracious a promotion wondrously. A breath-taking, yet soothingly modest finish leads into 'Fall', a number of equal allure. Echoing seaside exploration harks back to a time when we had so much to discover, sampled waves crashing against our determined inquisition. 'Warm' lives up to its name, throbbing with a lush bass line and highlighted by affected vocals that float on a surface of a trickling euphoria. Those drips continue into 'Swimming Endless', a muffled melody setting the scene for the final song, 'Endless Day'. Five minutes that glitter and reminisce and draw the silver lining on the cloud of your mood, it's an apt end to an EP that, while not the best thing I've ever heard, made me smile, and no one can ask for more. Stream 'Warm Autumn' up above, and then visit Celista's spot on the SoundCloud!
THE-DRUM is Chicago duo Brandon and Jeremiah, of 'Omar' fame, a track I posted quite a while ago. My face both shined and sunk when I discovered that this latest number, 'Euthanasia', while amazing, was late on arrival at my ears by almost a whole month. Nevertheless, anyone who hasn't heard it most definitely needs to, or if you have, why not indulge in a repeat? Headphones are an absolute necessity here though, before you start playing. The sound swims through you head, spanning the breadth of your mind and grabbing your attention with an iron fist. The sampled vocals form melodies in the beat-heavy air, and their mix of female and male singing varies the song up nicely. Stream the whole thing above, and then head to THE-DRUM's SoundCloud to listen to lots more!
I've posted one of L.E.V.E.R's remixes before, but this is a completely original track, and it's one of such minimalism and subtly it's hard not to love it. Stuttering beats click and pop over a distant industrial drone, the departure of which welcomes a new, steadier rhythm. Something about the stark emptiness of 'OP/EN' is akin to that of an abandoned library. The sonic details glitter in the evening sun, dust particles dancing in shafts of golden, dappled light. An underlying tension creaks. Hiding in the darkness, it grounds your fleeting senses, crushing their hopes of flying into an acute awareness of reality. All the knowledge you might need lies open on the floor, scattered without care. Yet somehow, in the quiet, gloomy sunset, the words have floated from their unswept homes, filling the space around you and teaching you something that will stay with you forever. A thought. A notion. A muse. Something so small, yet burning with an eternal cosmic truth. 'OP/EN' unlocks a very interesting door indeed, so stream above and discover more over here!
I've actually covered some of Lustworks' stuff on the blog before, but here are three new tracks from the 20 year old Canadian, from his forthcoming EP 'Ease'. Intricate in their detail and passionate in their search for a unique sound, these song are sharpened by an experimental edge, yet are soothing to the touch. An ambient exploration of texture and a striving need to create soundscapes of epic proportions, it's so easy to get lost within these three numbers, as each ponders a different situation. A different world. A different time. 'Vanilla at Night' is the latest, and therefore the first track up. Strange, natural percussion shakes and people march through rivers of wavering, glittering synths. The tribe wades through a marsh of ethereal samples, flickering and flitting back and forth in the warm glow of dusk. Small animals croak and splash across dew-covered leaves, but all grows silent as the edge of the lake looms. A view emerges. It is such a beautiful view...
The next track two tracks are 'Felines Underwater', and 'When You Were Not', and both of them amaze. The subtle melody of the former is layered with texture in such a way that it both contrasts with the softness of the sampled voice, and compliments it wonderfully. A slow, relaxed end is capped with percussion, which leads undeniably well into 'When You Were Not'. This number is a fantastic example of how a song can be built up over time. From a thoughtful, lonely start, full of echoes and minute details that bring the whole thing to life, the synths and melody grow and throb through your ears. A sense of impending magnificence tingles from head to toe as the deep, thundering bass line carries you away. A confused, but somehow together set of beats and texture and percussion kneel before a goddess, high in the sky and pulsating with a glow that transcends that of any gem. Another perfectly refined end closes the track, and thus closes this post. Stream all three of the songs, then head to Lustworks' SoundCloud for a free download, and visit his blog!
Sovroncourt is a one-man outfit hailing from Ohio, aided here and there by a group of friends. Cameron Sharp, as he is more commonly know by, dropped this latest eight track effort over in my inbox a couple of days ago, and I've been enjoying it for a good chunk of that time! Sharp recognises that his voice is either one you're going to initially love or one you're gonna hate, and that really is a barrier you have to cross. I'll admit that on my first listen, I wasn't too fond of his rather unique style of singing, but with another listen, you realise that all the blotches and tiny tonal imperfections lend themselves to create a persona around the music and a certain honesty that you can relate to so, so easily. Nobody is perfect, and people deafened by the mainstream attempts at such will find it a lot harder to get into Sovroncourt's 'Trunk Ship Perth', an album brimming with humble words and wrapped in a blanket of lo-fi folk fuzziness. It's available to download for any price over at the Bandcamp, and I eagerly suggest giving it a whirl, because it is worth it.
'Requiem' introduces the album will some thought-provoking lyricism, sang over a mixture of horns, percussion and guitar that compliment each other perfectly. A tale of ambition, of being rejected, and of trying again, the opening lines: "I met a man and he sat on top / I sat low but I looked up / as I wanted to sit with him", are rather endearing. One of my favourite bits of the song however, goes "If you're singing in your basement no one's gonna hear a single word you sing". One of the albums side-notes states that the eight songs were recorded in Sharp's basement, and when you read that the lyrics really come into their own. If I'm honest, I doubt many people will have heard of Sovroncourt, and it seems that they recognise this. They realise that they're a small group, and they muse on the notion of not being noticed, which is both human and charming and saddening all at the same time. If you take the time to study the words of every single one of these tracks, you'll find some truly beautiful song-writing. 'Butch Cassidy' is the next number up, a melancholy melody and folk guitars detailed by an interesting tambourine, or an instrument of that sort. 'Roger' speeds things up a little, with some heart-warming harmonies switching from quiet to loud and building all the way from one to the other. The slower, prolonged notes in the second half highlight the love/hate element of the singing, but somehow, it just works. 'Miss Ohio' sounds subtly different, as most of that background, lo-fi noise seems to have been erased, and I adore it. "The apocalypse exists / at least a version of it" sings Sharp, sighing, in a wonderful state of peace that you long to experience. The next few minutes, 'Acrowdedroom', are filled with delicate melodies and belting choruses, with 'Over Idaho', following with a didgeridoo? One of the shorter numbers, Sharp's voice seems a little monotonous in relation to the rest of the album, but the instrumentation makes up for all that. Honestly? I think every song's great.
'I Will Be Singing' carries a more rebellious tone, with lines such as "You can stick feathers in my rear / but that don't mean I'm a chicken" never failing to lift my mood and coax forth a smile. 'All Those Things' closes the record on a thoughtful note. "I wobbled over to the cliff overlooking eternity" goes a particularly striking sentence, and as the the album ends, you feel suitably enlightened, as thought a certain thin mist has lifted, but it was so subtle when it was there that you hardly noticed. There are two bonus tracks that you can stream over at the Bandcamp for yourselves, while I grab myself a copy. But trust me. If you listen to this while doing something else, you won't truly get a sense of it's beauty. Like looking at the Mona Lisa with sunglasses on, you really do need to give this your full attention to get the most out of it. If you do, you'll be rewarded with some beautiful lyricism and experimental folk vibes that lift the soul. It is an excellent set of tracks, and I only wish I could congratulate Sharp and his pals in person. Seriously, thanks guys, for both recording and sending over 'Trunk Ship Perth'. *Stream 'Requiem' below.*
I'm going to admit that I bookmarked this EP, and then kinda forgot about it, which was silly considering the quality of all four tracks. The whole things shines with a peppy dance-pop sensibility, but when you realise the outfit is based in the UK, some of the songs surprise even more with their foreign, salsa tang! After the Vampire Weekend inspired opening number 'So Will I', with its summery reminiscence and catchy hook, detailed with fresh, open-air percussion, 'Leige' begins. By far my favourite track, it dances across burning Spanish flagstones, a band playing in the shade of a rustic orange tree. The sea laps at the shore as the twang of the guitar plays out a melody as care-free as the first day of summer. You can almost taste the air, heavy with the afternoon heat, and see the red dresses of the women whirl across the street. The vocals are so unique in this EP that they carry every second, right through the slow moments and all the way to the stabbing, beautiful finish that 'Leige' closes on. 'Beta' continues, and runs with all the expected pace, on the road of fun built up by the previous two numbers. A slow, hypnotic break sooths before a satisfying conclusion, and the beginning of 'Please You'. A wholly acoustic track, it's an apt ending to the EP, and leaves the listener itching to go back and play all four songs over again. A free download from the Bandcamp, this is another fabulous EP that is so worth checking out. Stream 'Leige' above, then grab 'Sketch' here!
Another EP here, while I try and finish running through the backlog of music I missed while away from the computer! From Baltimore's Austin Tally, 'Wing Dam' is a five-track set of stunning lo-fi psych-pop, wrapped tight in a comforting blanket that only only bedroom-recorded sound can provide. 'Bloom' opens the EP wonderfully, setting the melancholy mood with its guitars and beat and humble, muffled vocals. Lyrically, Tally writes some fantastic stuff, from the yearning "When I feeling devilish / grow me up a little wish", to the thought-provoking, musing nature of "Darkness is a great bird / I can feel its feathers" on 'Feathers', which you can stream above. Subtle psychedelic embers dance from these easygoing pop numbers every so often, highlighted by the summery instrumentation and grounded by the reality they so eagerly wish to escape. The five songs wander through care-free memories, longing to forget the present and yet somehow accepting it, a tired smile on their faces. 'Mosquitoes', with its memorable melody, and 'Moon', with its relatively clear vocals close thr EP, and you feel all the better for it. It's a free download from the Bandcamp over here, so there's no reason not to give it a whirl! Well done Tally! You've recorded something that lives for the moment, yet for me, might just be timeless...
A while back, I reviewed a copy Gel Roc's album 'Beautiful Tragedy', which wasn't half bad at all. It came as a pleasant surprise therefore, to discover an official video for the title track in my inbox. The video is pretty awesome, and does the song proud with its well-shot and professional air. Things switch up between Roc, Abstract Rude, and some guy having a dance, all of which suit the stomping, hypnotic mood of the song perfectly. Rude in particular is strangely captivating in the way he performs, and, along with the tone of his voice, added a whole new element to the album. Both this and the record are well worth your time, so stream the video up above and listen to the others on Gel Roc's Bandcamp!
At the start of August, while seems a while ago, I shared the mp3 of Nihiti's 'Pinko Morning' which was an amazing little track from the band. I'll admit that I've yet to grab the EP, but this video has sparked the overwhelming need to. The track is just as I remember it. The vocals throb with a tone that makes my skin tingle, backed by instrumentation that actually moved away from the electronic exploration we were used to, but still retained those dark underlying notes we all love. It's a fantastic number, and I'm so glad Nihiti decided to send it over to the blog. Stream the whole thing above, then head over here to grab the five-song EP in its entirety. Believe me when I say; I sure am! So what are you waiting for?
As you all know, I'm a massive fan of Lana Del Ray, and also the fantastic Penguin Prison. So, what happens when the two combine? Pure, unadulterated, bliss. A remix of Lana's 'Blue Jeans' gives the track an electronic disco vibe, dancing along to her extraordinary voice. The bass carries everything, from the synth to the melody, and it all ties in with a superb balance that only Penguin Prison could pull off. A good test to see how good your self control is: Stick this on a decent volume and try to sit completely still! It's gorgeous stuff, and well worth a listen, especially if you need to relax. I'm absolutely in love with it!
Brooklyn's Tropic of Pisces dropped this three-tracker only last month, and trust me when I say, it's an incredibly good one! Rocking along with a unique groove that gets your body moving, all three songs manage to stand in the river of mainstream pop without being swept away by the wave of predictability. There is no doubt that you're going to love it, because somehow, it utilises everything we've heard before, but mixes it in a manner that sounds so unbelievably fresh and new and uplifting. 'Marking' opens the EP with an awesome synth, and before you know it, your foot is tapping along to the lush beat, and you just know everything is going to be great. The singing is great. It lets the music do most of the talking, while running through such a dynamic spectrum of tone and pitch, it is impossible to sniff at. The title track, which you can stream above, is amazing from the get go. Crickets and birds fill the room with their evening activities as the tribal beat and natural drums back short, delicious vocals. They're offset immediately however, by a spectacular couple of notes that I adore. A synth break half way through builds straight back into another beautiful section of singing. As the number draws to a close, Tropic of Pisces manage to vary it up again, before 'Still' takes to the stage. The grooviest vibe ever pumps its way out of your headphones, before a standout chorus, lathered in effects and oozing relaxation. The ending shows a whole new side to the vocals, but before the flame can grow it's blown out by a decidedly abrupt, but no less lovely finish. The whole track, no, all three tracks, blew me away, and I sincerely recommend a listen. Hear the EP over here, and await the forthcoming album over on Tropic of Pisces' Bandcamp page!
Brookyln's The Gytters dropped this sweet little number last week, and it is just a beautiful track. Sunshine-infused guitar work is carried to the stars by a stunning bass line, tied to the ground by floaty drums and dreamy vocals to match. All in all, it's a combination I just cannot resist, swimming through the lake of care-free rock ripples, and drying off with an absolutely stunning hook, "the running of the bulls". It's not the best thing in the world, but while it lasts, you can't help but sway a little, and for a moment, get lost in the music. Free to download at the Bandcamp over here, this is an easy recommendation for me to make!
New, pretty epic 7" right here, from the ever-inspiring Saskatchewan, which dropped at the end of last month. I've actually covered the guys before, their subtle dream-pop arousing my ears on more than one occasion, but 'Skinny Dipping' is something else all together. It begins with the title track, which you can stream above, and it's a number that immediately causes you to fall in love with the all-male Orlando band. A surreal melody is met almost instantly with roaring, lush guitars. Wailing vocals are riddled with wondrous effects, and the whole thing rocks. The sound is tinged with cars and streetlights and the image of a busy evening street comes to mind. The stars are glowing, and as you look through the window, everyone nearby respects their glory. The air is cold, and yet you feel warm. It's the strangest feeling, as though you're reminiscing an event that never occurred, and I love it. The second track on the 7" is 'Cabin Fever', which rumbles with a delicious drum beat and the same ethereal vocals, soaked in reverb. A quiet finish demands your attention, as you ponder the delicate, beautiful nature of everything. A name-your-price purchase, download both of the songs over here, and trust me, you're going to want to!
After that Radiohead song, I didn't much like leaving you on an unhappy note, so here's a cheery little number by way of Yomaha. One of the labels for the song mentioned 'gospel', and from my experience with gospel music, this sounded decidedly, different. Indie folk-pop is a much more apt description, considering the reminiscent guitars and bedroom recorded vocals, both of which I love! A nice little melody carries said vocals on waves of bluesy yearning, detailed by the glittering, shimmering beat. A summery sea-side sample break half way through leads into a slow, soothing finish. You know its a good day when you logo onto the SoundCloud and find something like this! Stream it way up at the top!
Now, this is something we haven't done in quite a while! The Weekly Classic hasn't been, well, very weekly for a couple of, er, weeks, mostly because I completely forget. This week however, I'm treating you to one of my favourite Radiohead songs, 'Exit Music'. A truly touching and truly saddening and truly beautiful number, it runs through this epic, epic story, which brings a tear to my eye. From a relatively stark beginning, everything seems quiet. Muse may have taken a few notes from this track, as there are some very similar vibes running through this as run through some of their songs. Slowly however, noise emerges from the calm. Children laugh and play and suddenly, a passionate climax fills your ears, only to sink to its knees at the very end. The girl, as she can't run away with her true love, kills herself. Yorke sings. "We all let you choke". The tale ends, and you are left, stifling a sob and pondering in the silence left by its finish. 'Exit Music's a true classic.
Old Bowl are incredibly interesting. Through the seemingly random combination of styles, they've managed to create something so unique, and yet something that feels like it has always been. Lo-fi bedroom pop meets electro-folk, sharpened with an experimental edge, and you know what? It sounds fantastic. The title track kicks things off, and can be streamed above. Alien squeaks and cosmic tinkling contrast to the pretty miserable vocals, supported by an uneasy, uncertain beat. I don't think its the best number here, which is weird considering its position in the EP, but there you go. A thundering old-age rejection leads us to the finish line, and the much nicer 'Dull, Dull, Dull'. A sweet, crackling melody is carries by a homemade beat, before awesome melancholic vocals and foreign effects come in, making everything even better! 'Bury the Heart that Still Beats' follows, highlighted by the orchestral synths that close it. 'Unraveling' sounds decidedly more rock-driven, but Old Bowl still stamp their experimental mark all over! The guitars are immediately missed with the beginning of the next track, 'Is there a Greater Fear Than This'. Something about the stark, unnerving backing track and lush vocals remind me of Warpaint, but its a very slight similarity. The song is so beautiful, for whatever reason. It resonates somewhere inside, and that makes the music so, so much more meaningful. The sampling in the next track varies the EP up more, if that's even possible, and 'Mourning Love' concludes the seven songs. Download them all here for free, and I highly recommend that you do! There is some seriously experimental stuff going on right here!
Two new tracks here from the Maryland-based Skai Nine, entitled 'Pulse' and 'Indigo'. Both can be streamed above, and are well worth doing so, as both retain a certain quality that's hard not to completely love. 'Pulse', as the name suggests, throbs with a constant, unwavering synth, detailed by tinkling percussion and held together by a beat, strong in its subtle, underlying tension. Affected vocals run with everything, to a point most exciting in its execution. At 2:15, you notice the beats leave the equation, replaced instead with an eerie, frightening melody that compliments the rest of the song expertly. 'Indigo' is the latest of the two numbers here, and is an adequate follow-up to the level set by 'Pulse'. The build at the beginning is just magnificent, and marks the way for the rest of the track. These aren't the most amazing things ever, but well worth at least one listen! Stream above, then head over to the SoundCloud to check out more grand tunes from Skai Nine!
I know I've been piling on a lot of praise recently, but I've missed a lot of great music that just needs to be shared! Pinemarten, and their latest EP 'Coming Around Again, Again', is just that. An outstanding, three-track collection of chilled out orchestral synth-pop, riding the dreamwave and bending the cosmic spoon. Every second of these twelve minutes is so relaxing, so soothing and so thought-provoking, it's impossible not to be impressed by Pinemarten's scope and obvious passion. 'Come Upstairs' kicks things off with a synth soundscape that colours the world in a spectrum of waves and beats. They feel beautifully transcendent, as though floating through some mystical world, high above and blissfully unaware of life's troubles. The title track is equally stunning, but carries a playful melody that reminisces time gone by. A spine-tinklingly subtle finish leads into the concluding number, 'Why (Does Your Love)'. Dazzling in its depth and layered sound, it closes the EP perfectly. 'Coming Around Again, Again' is the sort of music your heart is always hungry for, and Pinemarten has most definitely delivered. Download all three songs over... here!
Another EP for y'all now, this time a four-tracker from the Brisbane-based, garage-rockin' Dune Rats. It actually dropped at the start of last month, but you don't mind me sharing it now, do you? The truth is, I've been hiding them away. Keeping them for myself, until the time came to unleash their surf-pop, lo-fi awesomeness! 'On Our Own' opens the EP with an energetic mix of passionate vocals and furious guitar/drum work. The foot-tapping blend of gorgeous lyricism and incomprehensible whooping and wailing makes for a wholly enjoyable sound. 'Pogo' follows on the same high level, be it with a slightly melancholic yearning layered on top. The title track, which can be streamed above, takes it fair share of the glory, but its the final number, 'F(r)iends', that stood out for me. A belting chorus and a melody to match, its a stunningly apt end to a stunningly great EP! Download here!
Pretty sweet little three-track EP from the Charlottesville based duo Great Dads, 'Crunk Goblins'. Something about their pop-rock sensibilities, punk energy and fantastic lyricism just hits the spot. The length of the EP ensures a memorable listen afterwards, and the unique style the guys manage to get across captivates during it. The opening number is particularly enjoyable, guitars running free down the confident drum beat. A slow, soothing start is met by fireworks, panning across your headphones, and the lyricism ("Hey, I’m here in a tight dress / Anything you need to confess?") is utterly hilarious. 'Sun Ritual' matches the standard set by 'Ladies Knight', building and inspiring and laughing all the way to the finish line. 'Eno's Lamborghini ' concludes the EP with a instrumental number, but I reckon that's just what needed, and it works brilliantly! Download the EP for free over here, but stream the excellently well executed 'Ladies Knight' above before you do! Before long, I'm sure you too will be singing along with "good libations". It's recommended!
When I first caught sight of this track, I immediately noticed the name Rostam Batmanglij. Pianist, lyricist and all round multi-instrumentalist, well known for his work with Vampire Weekend and the lesser-known 'Discovery', I was itching to get some headphones on and have a listen. As it turns out, 'Wood' is all I was expecting and more. An eruption of exotic synths and a flurry of feathered beats coax forth a manic, unprecedented grin. Bells and tinkling and higher key builds, all matched with tribal drums, carry the joy like waves. Delicate and dreamy vocals seem to send themselves to sleep, taking you on a journey of blissful discovery. The ending for me is the very best however, full of huge harmonies that stand and sing, solely for you. If you need cheering up, there's no better song than this!
From the little information I can find, I gather that Black Spires are a Belgium group from Ghent, with this untitled demo set available for free from the Bandcamp. Specialising in some outstanding dark old-age rock and roll, the five tracks sound fantastic. And, when considering they're all demos, I can't wait to listen to what they goin' to churn out in the near-future. 'Scars' opens the collection with some furious guitars, offkilter and unnerving. Sonic squeals and pounding drums lead into angry, reverb covered vocals, and everything just seems to work. 'Exit' slows things down, but the shadows slowly creep up on you. The instrumentation is layered in such a way as to the build noise upon noise. An orchestral scope bites at your heels as you run through the eye of the storm, so there's no reason not to stream it above. There are another three tracks, but heck, I'll let you discover the brilliance for yourselves! Download the whole thing free of charge over here!
'Sir Walter Raleigh' is the next number in my massive catchup session of Rebecca Peake and her track-a-day journey. A post-Britpop label is done proud as the guitars strum and the drums soak into your ears. Whispering vocals lend a very eerie, unsettling tone to the music, and as one comment rightly observes, Peake seems to have created the new Wall of Sound. Piano melodies and tinkling chimes are layered over each other, forming a 'wall' of reverb, fascinating in its depth and filling the space around you. As the track progresses, things get more and more crazed, before a slower, but perhaps even scarier finish closes the four minutes. As per usual, 'Sir Walter Raleigh' is just a must-hear track!
Like being underwater, everything is so quiet. Surrounding you is nothing but the cold blue of the water, detailed by flecks of dust and algae and the occasional small fish. As you watch this creature swim past, you notice, out of the corner of your eye, something take shape. From the murky darkness, a colossal structure emerges. Towering high above, you recognise the bow. You shiver through the wetsuit as the many windows stare out at you, lifeless and riddled with nightmares. Suitcases lie deathly still, unmoved from where they were left. Pristine beds glimmer under your torch, eternal in their slumber. You notice a doll, her smiling porcelain face cracked and broken. Time stands still for a moment. Looking down into the belly of the beast, you slowly unclasp your air tank. Your tears float away into the distance as you start to lose consciousness. The world above is tainted, while down here, innocence prevails. Silence brings comfort, and you realise, like a burden lifted from your heavy heart, that you want to 'Be Devoured'. You finally breath...
'Last Vertiges' is the next track, and runs for an amazing six minutes. A psychedelic ballad of epic proportions, the sound here builds and builds, rumbling and thundering under the reverberating vocals. It grows with quiet, tangible disquiet, throbbing and sincere and beautiful. The backing track is harmonised to a wonderful level. Like a hundred people wailing and lamenting the loss of a leader, the scope Peake has squeezed out of this is inspirational. Three-quarters of the way through, a pulse-quickening build leads into an anti-climactic, but somewhat ethereal piano break. As you breath a sigh of content, something changes. Hope appears from the darkness, and all seems right with the world. A key change at the very end hints so subtly at future fears, but for now, nothing is wrong.
'Honeybee' follows as a space-rock number, and feels very much like a toned down musical track (think 'Love Never Dies'). As we progress past the one and a half minute mark however, the guitars come in and the song really comes into its own. The lyricism drowns ever so gracefully in the unstoppable ocean of sound, before jerking your wandering mind back to reality with a sudden finish. As you sit, recuperating with heavy breaths for company, you turn to the next song, 'Muscovite Trail', hoping for more of the same. Instead, you're dealt something completely different, in true Peake fashion. Captivating vocals bounce off the studio walls as classic folk guitars strum along. Warm strings play along as you watch, face to the glass, as raindrops slide purposefully down your window. Strong and delicate simultaneously, you can listen to both the songs below!
'I Failed Atlantis' sounds decidedly church-like. The sad, harmonised vocals send you forth on a quest almost certain to fail. Their voices reverberate off the stone, ascend the breath-taking space above your head, and fill your imagination with thoughts of heaven. You don't need to be religious to understand the message of this track. Life is never certain, but death is. It eventually wraps its warm, soft, confident arms around our crippled bodies. The touch will heal. Wounds will seal up and our minds will unfurl. This is thought-provoking music if ever I heard it, but as before, the next track, 'Broken Mirror' jerks you from your musings. One comment nods its head towards a Battles influence, and if they were hyper and depressed, I'm pretty sure they would sound like this. Powerful, repeated beats are met with vocals to die for and synths to match. Strong and roaring, everything feels immense, and I absolutely love it! Stream below, but I think that's the catchup done!
