The Lonely Together – Congregation

I want to somehow convey here the idea that “Congregation”, the new single from The Lonely Together, sounds and feels so very of its place (that place being Scotland) and in many ways strongly reminiscent of other bands of that place (such as, say, Frightened Rabbit) while at the same time making it clear that this is in no way a criticism, and that the accented vocals and the harmonising ‘ah-ahh’s are the perfect complement to the song’s gliding principles (and in doing so drop in a sly reference to another Scottish band), and I want to do all this while recognising that choosing “Scottishness” as a strong defining element is just plain wrong anyway (I wouldn’t expect bands from Northampton to sound the same as bands from Southampton), and reconcile my position by considering that I just find a particular genius in the assembled sound that seems to spring so easily from so many indie guitar bands, many of whom just happen to be from Scotland.

That’s the plan, anyway.

Follow The Lonely Together

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This Is How It Feels To Be Indie – The Indie Vigil #12

Welcome to your weekly catch up on the “This Is How It Feels To Be Indie” radio show hosted by Adam Jeffery on Radio Scarborough.  Last week’s show featured all the usual great music, including Maximo Park and Teenage Fanclub. Also played was the brand new single by The Trashcan Sinatras, entitled “Best Days On Earth”, taken from their forthcoming PledgeMusic album due for release very soon. We even got a retweet by the Trashcans themselves which made both Adam’s and my day!

Keeping up with the latest new bands there were also tracks from Amber Leaves and Asylums. You can find the full track listing on the Indie Radio Facebook page – while you’re there, why not give us a “like” and a share please! You can also listen again to the show in full on Mixcloud here.

The weekly feature “The Best off a Best Of” (hosted in conjunction with Everything Indie Over 40) this week voted on Loads by The Happy Mondays. The winning track was “WFL” as voted by the Twitter followers and that amazing EIO40 t-shirt was won by Neil Cooper (@neilc79). Well done! Keep an eye out for next week’s competition and get your vote in to be in with a chance to win!

Also on the show Johny popped by and gave us his “Lost Indie Classics” while Adam nipped out for his usual iced latte and cinnamon swirl. This week he brought us “Waiting for the Winter” by Popguns and “Happy Hour” by the Housemartins.  Did you get the connection? A few people guessed it online as it was of course the end of British summertime!

And so onto the Indie Vigil. This week’s choices come from the lovely Rachel Jones who goes by the twitter handle @star273025.  Rachel is a 39 year old teacher from Wolverhampton and is single mum to 3 fantastic kids.

The three tracks Rachel has chosen are as follows:

Something Old

The Wonder Stuff – “It’s Yer Money I’m After Baby”

I was music obsessed from a young age and read Smash Hits religiously from 7, initially heavily censored by my mother. In 1988 Transvision Vamp released “I Want Your Love” and I remember reading the lyrics and thinking she was rather foolish. A couple of months later I heard Miles singing the exact opposite sentiment and I was captivated! And so began my obsession with The Wonder Stuff, leading on to discovering the wonderful PWEI and Neds Atomic Dustbin. I’ve seen Miles play twice this year, still with the same passion he always had and still making me jump up and down like a demented 15 year old.

Something Borrowed

The Longpigs – “She Said”

I went to Sheffield Hallam Uni and my best mate there wrote for a local music magazine and I would tag along to “help” with gig reviews and interviews. Her editor was friends with a local band and she couldn’t wait to play me their stuff – obviously I loved it immediately. This, and “On and On” remain two of my favourite songs ever; they remind me of an amazing gig they played at our union and lots of fantastic nights out in Sheffield.

Something New

The Sherlocks – “Heart of Gold”

Coincidentally another band from Sheffield! I heard this played on Radio 1 a few weeks ago and loved it immediately. I really can’t wait to see them live and hope big things come their way.

Big thanks to Rachel for sharing her song choices and the reasons why she’s picked them with us.

Listen in to the show next week to find out who will be featured in the vigil and then come and join us for a debrief along with a replay of their tracks.

And finally, as always, don’t forget to tune in to http://www.radioscarborough.co.uk/ on a Wednesday night to hear some great music and chat.

Field Music add US tour dates, announce Commontime preorder

Having recently shared “The Noisy Days Are Over”, the first track from Commontime, their forthcoming fifth album together, Field Music’s Brewis brothers have now made the album available for pre-order and added US tour dates to their 2016 tour.Watch Full Movie Online Streaming Online and Download

Commontime is out on February 5th, and is available to pre-order on:Watch movie online The Transporter Refueled (2015)

Pre-order the album and you’ll get the “The Noisy Days Are Over” as an instant download. The first orders will also receive a limited edition signed A3 art print.

Field Music 2016 tour dates

Feb 25 Newcastle, The Cluny
Feb 26 Newcastle, The Cluny
Feb 28 York, The Duchess
Mar 03 Cardiff, The Globe
Mar 04 Exeter, Exeter Phoenix
Mar 05 Nottingham, Rescue Rooms
Mar 10 Leeds, Brudenell Social Club
Mar 11 Manchester, Band on the Wall
Mar 13 Glasgow, CCA
Mar 18 London, Islington Assembly Hall
Mar 19 Southampton, Engine Rooms
Mar 20 Brighton, The Haunt
Mar 24 Washington DC, DC 9
Mar 25 Philadelphia, PA, Johnny Brenda’s
Mar 26 New York, NY, Rough Trade
Mar 27 Boston, MA, Great Scott
Apr 01 San Francisco, CA, Independent

Follow Field Music

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Turin Brakes – 96

There was much excitement last week among Turin Brakes fans, when the band dropped a teaser video online with the hashtag #TBLostProperty. Then, this week, they announced a new album, Lost Property. The band’s seventh album, and first since We Were Here in 2013, Lost Property is set for a January 29th release.

Speaking to Record Rewind Play Olly Knights described the new album as “a pastures new type of record, but with all the experience of what happens when we leave our comfort zone thrown in. It’s unmistakably TB, but with some new twists and turns”.

The band also shared the official video for new single, “96”, which you’ll get as an instant download when you pre-order Lost Property:

Official Store (for signed products & bundles) – http://po.st/TBstore1
iTunes – http://po.st/TBiTunes1
Amazon – http://po.st/TBAmz1

And if the sweet sound of the vocals and guitars of “96” are anything to go by, it could be pretty special.

Follow Turin Brakes

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Turin Brakes Interview – Olly Knights talks about new album “Lost Property”

Back in June I left you in suspense with just a few choice questions that I had selected from an interview I had done with Olly Knights from Turin Brakes. Well, the time has come to let you in on the full interview piece as there is now breaking news on the release date of the band’s new album.

They posted a short and sweet video teaser online last week accompanied by the hashtag #TBLostProperty and mentioning today (Monday).  It is now confirmed that Lost Property is the title of album number seven.  The Turin Brakes website has been updated this morning noting that the album will be released on 29 January 2016 and currently you can pre-order a variety of bundles online including CD’s, LP’s and signed prints.  No news on any tour dates as yet, but fingers crossed this might be announced in due course.

The last studio album, We Were Here, was released in late 2013, so the new material will no doubt be excitedly received.  I spoke to Olly earlier this year and asked him what we could expect with the new album. This is what he said:

So, how did it feel to be back in the studio and at Rockfield of all places?

It was actually great, we worried it would feel too similar to the We Were Here sessions, but as always it took on its own identity as did the music.

Has the creation of the new album been a labour of love or did you find it an easy task?

We’ve done more pre-recording work than ever this time. We spent about three months in my little garden studio playing and playing and playing all the new ideas until we knew what really felt great to play together, so important! Once we de-camped to Rockfield we had barely enough time to get through all the epic material, but somehow we did it by the skin of our teeth.  Ali Staton our co-producer/engineer virtually gave up sleeping to get it done!

You have something of a reputation as a band that sounds different on every record – what can we expect this time?  Is this likely to be a return to your folk roots or a side-step into pastures new?

I’d say it’s more of a pastures new type of record, but with all the experience of what happens when we leave our comfort zone thrown in.  It’s unmistakably TB, but with some new twists and turns both sonically but also deep down in the routes of the songwriting.  We wanted to go straight for the jugular on many songs, so working out what the real point the song was trying to make was either lyrically or musically and then making damn sure it makes it!

Is it a conscious effort to change your sound or just a natural progression for your music?

A bit of both. It’s almost impossible for new identities not to be forged every time we commit to an album, everything is changing all the time including Turin Brakes. However we are much more aware these days of our “legacy” and often discuss the virtues of protecting it or the opposite.

You’ve spoken to me before about selecting the right track as a lead single when you release a new piece of work. How’s that panning out this time?

We’re being very grown up about it, we know there is this enormous monster called UK radio that comes into play (whether we like it or not). So we’ve seen it as an artistic challenge to create a few things that could work really REALLY well in that world, but that doesn’t betray what we feel is our identity as a band. I can’t predict what will happen, but it will be very interesting I hope. I like to think that if we get it right the fans will be happy.

You did a large tour when your last album “We Were Here” was released in 2013. Any plans to tour with the new album and if so on what sort of scale?

Always, but it’s too far away to know the details yet.

I enjoyed watching the short and sweet video clips you posted on Twitter of your time in the studio, although they were somewhat frustrating! Is it an easy relationship for you all to work together in that environment? Does someone usually take the lead?

We’ve gotten pretty good at working together, but there sure is pressure, from us and from time mainly. We have had to become experts at it or else we’d never have made it this long. We all have our ways of behaving, positive, negative, slow, fast but I see it very philosophically, essential parts of a musical whole. Having said that I am of course usually right about everything, ahem!

Your lyrics always seem to me to be very personal. Do you find writing new songs easy?

They are always born from my experience of life so I’m not sure if they could be anything other than personal, but I always keep an audience in mind. I really don’t enjoy music that doesn’t seem to care for its audience and is primarily self-therapy. I want someone’s truth, but I want it presented with intelligence and a little distance, so we can all get somewhere new I guess.

Is there a central theme for this album and if so can you enlighten us on what it is?

It’s all too close at the moment to sum up, but I keep seeing threads, repeated ideas and images. If “We Were Here” was a little outer space obsessed then this stuff seems to be inner space obsessed, “when we turn the telescopes from the sky to within” is a lyrical example. I enjoy the notion that inner space can be just as vast and curious as the big black and is in fact inseparable from it, a universe on the tip of every finger. These things get smashed together with the poetry of the everyday on the new album.

This will be studio album seven. Does it get harder to be creative after all this time or does your inspiration become easier with experience?

No it gets easier, what gets harder is dealing with your own history.  We had the wonderful curse of being told excessively that the very first thing we did was our best work and could never be eclipsed, how do you carry on from there? We plough ahead because we can’t really help it and most of the time we love what we do.

What are your hopes for this album?

I’d love to see the music reach a wider audience again, it’s been a while. I’m not embarrassed about the idea of making music that resonates with lots of people, just as long as it’s bloody great. It’s nice to feel your building something rather than just cruising I guess.

From a solo point of view, do you have any plans to write and record a second album?

I do, but it keeps not happening.  We were quite busy co-writing even during “down time”, but at some point new ideas will saturate my being and I will have to get them out before they evaporate, because they do.

We’re planning a Turin Brakes day on the Record, Rewind, Play site to coincide with the album release (if possible). The hardcore element of this means a day of listening to your entire back catalogue and writing a review of each of the albums! What album of yours is your personal favourite to listen back to and why?

I enjoy Ether Song a lot because it’s such an expressive and brave sounding record. When I think about how much pressure was on us at the time to repeat and eclipse the debut I’m proud of our slightly left turn that we made into artistic and edgier territory. I mean it’s hilarious that we sometimes get described as this sort of “soft acoustic duo making nicey nicey folk to forget” have you heard “Little Brother” or “Panic Attack” lately? Think again!

And finally, just out of interest, what other artists are you enjoying listening to at the moment?  Any recommendations?

I have a stack of vinyl from Laura Marling, Jessica Pratt, The Staves, burning a hole in my conscious at the moment.  It’s safe to say my leaning towards strong female artists hasn’t lost its drive. Still looking for the next Joni Mitchell I guess.

Massive thanks to Olly for taking the time to answer my questions and I do hope this has given a little bit of an insight about we can expect from the new material.  The release of a new record is always an exciting time for the fans and no doubt there will be lots of interest around this album coming out.  Head over to Ether Site to keep up to date with any news and I’m sure we will be sharing a review of the album here in due course.

Super Subs Week #5

Inspired by a survey I took earlier, I bring you a final six music submissions for Super Subs Week, with each described in three words.

Sophont

Gothic, trip-hop, suspense.

Bandcamp | Facebook


Facebook | Twitter

Smooth, mellow, promise.


In Hours

Facebook

Swedish, melodic, anthemic-ambient.


Measured in Heads

Facebook

Intriguing, mood-lit, stripped.


Buffalo Buffalo

Bandcamp | Facebook

Orchestral, sweet, indie-folk.


Buck

Pulsating, interstellar, silky.

Facebook | Twitter

Cheatahs – Mythologies

In its first incarnation, shoegazing was barely a genre. It wasn’t a well-defined sound, and scarcely existed as a scene outside its own bubble. The term was part descriptor, part insult. Now it’s undergoing a great renaissance: Nowhere is 25, feted, and rebooted by a reunited Ride, and enough time has even passed for a follow-up to Loveless to squeeze its way out of Kevin Shields’ brain.

There’s a sense that Shoegazing is now more tangibly represented than in the past, when even bands associated with the scene were quickly disassociating themselves, stopping when they’d had enough. Moose were shoegazing until they clearly weren’t, Lush likewise. Ride tried on new footwear with varying degrees of success, while Slowdive morphed into Mojave 3.

Modern acolytes of the form are doing more than ever with the very idea of what shoegazing was, is, and could be.

Take Mythologies, for example. With its aposite name inspired by a collection of Roland Barthes essays about semiotics and myth, it offers riddles wrapped in mysteries, and hints at connections from past to future: an extracorporeal existence between the bounds of magic and reality.

Throughout, it takes shoegazing staples – distortion, texture, echoes, reverb – and combines them with percussive breaks and stops. It’s as if every flowing chord progression has to be halted in case it becomes too comfortable. The whole album is a journey of unknown origin, uncertain direction, along unmarked waypoints.

Opening track “Red Lakes (Sternstunden)” begins with vocals that sound backwards as well as forwards, and ends with snatches of German. Its title references the concept of a great moment, a decisive pivot in history. You consider whether this screams arrogance, before recalling the astrological interpretation of sternstunden as events dictated by the movements of the stars, the celestial workings beyond our grasp or control. “All connected in an infinite age” might be the first line of “In Flux” (distortion renders it difficult to catch), the track suggesting a greater knowledge than we possess. “Let us compare mythologies”, starts “Hey Sen”, before morphing into “Deli Rome”, itself flowering briefly through layer upon layer of reverb and more hard to make out vocals over a gently pulsing beat. There’s not much hook to hang on here, more a feeling of alchemic experimentation in layering.

“Colorado” pulls us further into the noise-well, down into the dense depths where everything is uniform, all unique properties subsumed into a wall of sound. Until the second half, where everything falls away. Pushing through the event horizon you reach a world of light patterns. Your brain tries to make sense of it as it would a dream; the resulting sound is the tantalising “Su-Pra”, which dissolves even as you strain to contain it. Then a moment of clarity as “Seven Sisters” wraps its tendrils around you. A moment of bliss is felt before you’re tossed into another confusing place and time: “Murasaki” is sung in English and Japanese, reflecting the work of the song’s inspiration, Murasaki Shikibu, who combined Chinese histories, narrative poetry and contemporary Japanese prose in works such as The Tale of Genji, perhaps the first novel, the first modern novel, or the first great novel. Perhaps all of the above. According to eleventh century court custom, dialogue is delivered in the form of poetry, sometimes by modifying famous works, often with barely disguised subtexts.

Semiotics is defined as “the study of meaning-making, the study of sign processes and meaningful communication”. Mythologies seems bent on testing the fundamental importance of both meaning and communication by offering as few clear signals as possible. Nothing is certain, especially intention. The influence of Cheatahs’ “gallery-based improvisational noise shows” is revealed in the way Mythologies gathers its pieces together without specific direction and then looks upon the assembly and suggests emergent meaning.

That’s not to say there aren’t obvious tunes and straightforward belters anywhere in Mythologies. “Channel View” wanders off towards brilliantly catchy college rock, “Freak Waves” hammers riff after riff with wild abandon, “Seven Sisters” is a sonic sundae, and “Mysteci” is the perfect wind-down your brain needs after an album’s worth of chaotic uncertainty.

And after the wind-down, of course, there’s more: as “Reverie Bravo” breaks briefly into drone-backed chant there’s time enough for one more celestial observation:

It will reach the apogee then it’s over

Whenever, or wherever that may be, who can say?

Spooky

Halloween is not a season. Just so you know.

The Nightmare Before Christmas – This is Halloween

It is. Sort of. It will be on Saturday. And I will be doing my utmost to avoid being tricked or handing out treats. Humbug!

Bauhaus – Bela Lugosi’s Dead

He is, you know.

Baron Daemon – Ghost Guitars

Haunting, I’m sure you’ll agree. Scary like Rentaghost.

Siouxsie and the Banshees – Trust in Me

This Jungle Book track was also covered by Belly for their Feed The Tree single, but Siouxsie triumphs in the sinister tingles stakes.

Screaming Lord Sutch – I’m In Love With Dracula’s Daughter

I’m not really.

The Dream Syndicate – Halloween

He says you shouldn’t believe the things in papers
They can’t come true
And don’t believe the things that you see on TV ’cause
They’ll never happen to you
No no, not on Halloween

Super Subs Week #4

I have six more music submissions for you right here, ranging from folky singer-songwriterness to alt-rock, to blues rock, to 80s-style pop goodness.

Camcorder

Bandcamp | Facebook | Twitter

Super Subs Week #4 kicks off in raucous style, thanks to some alt-rock, Woking style. Camcorder are: Tobias Noto – vocals and guitar; Owen Baker – Drums; Mat Peachey – Bass. Manifest Misery, their debut EP, was released in September and is available from their Bandcamp page. The costiness is anything from zero upwards, dependent on how generously you would like to reward them for their hooks, heft and riffage. Hint: generosity pays.

Manifest Misery by Camcorder


Slowcoach

Facebook | Instagram | Twitter

Slowcoach is the work of Melbourne-based Dean Valentino. “In Limbo” is his second release as Slowcoach. I’m detecting a strong sense of the likes of Real Estate in the wandering vocal lines and ringing guitars. In my book, in case you don’t know, strong Real Estate vibes are very much a good thing.


Honeyspiders

Website | Facebook | Instagram | Twitter

A self-titled debut album from Honeyspiders is out on November 14th, via Cobra Basket Recordings. Here’s hoping the LP sustains the low-slung down n’ dirty rock of “New Blooms”. Think back to that first time you heard BRMC and realised you’d found your anti-twee.


FRENSHIP

Website | Facebook | Instagram | Twitter

FRENSHIP offer up a teasing description of themselves as “Hall & Oates meets Ellie Goulding”. I have no real view on Goulding, but Hall & Oates were there in the 80s in my formative pop years (“Family Man”, anyone?) so the comparison is intriguing enough to reel me in. And I’m glad I’m easily led, otherwise I might have missed what Pigeons & Planes described as “like Tears For Fears with a touch less darkness”. And, yes, if you’ve already made it to P&P, then RRP isn’t going to boost your profile all that much, but what the hey, every little helps!


Mirror Mask

Website | Facebook | Instagram | Twitter

When Prince goes seriously darkwave, this is what he’ll be shooting for. And then he’ll give it away with The Mail on Sunday / Tidal and personally oversee a takedown of any fan uploads. Because Prince is a dick. Don’t buy Prince records, by Mirror Mask records instead.


Andy Newton

Reverbnation | Facebook | Instagram | Twitter

Originally from the San Francisco Bay Area, Andy Newton now lives near Boston, where he composes songs – which he’s been doing since his undergraduate days, fuelled by the memories of golden oldies he used to hear on his local radio station. A Banner Day, released this summer, is his debut album. It’s a folk-rock collection with emphasis on both the “folk” and the “rock”, switching easily between contemplative plucking and hammered riffs alike.

This Is How It Feels To Be Indie – The Indie Vigil #11

This Is How It Feels To Be INDIE! – Broadcast 28/10/15 by Radio_Scarborough on Mixcloud

Welcome to your weekly catch up on the “This Is How It Feels To Be Indie” radio show hosted by Adam Jeffery on Radio Scarborough. Last week’s show featured all the usual great music including Echo and the Bunnymen, The Shins, and Two Door Cinema Club. Keeping up with the latest new bands there was also tracks from Delamere and Superfood, plus “Calling Out”, the great new single from Distant Sun. You can find the full track listing on the Indie Radio Facebook page and give us a “like” and a share please! You can also listen again to the show in full on Mixcloud here.

The weekly feature of “The Best off of a Best Of” (hosted in conjunction with Everything Indie Over 40) was Pop Will Eat Itself’s 16 Different Flavours of Hell. The winning track was “Def Con One” as voted by the Twitter followers and that amazing EIO40 t-shirt was won by @Betamax857. Well done! Keep an eye out for next week’s competition and get your vote in!

Also on the show Johny popped by and gave us his “Lost Indie Classics” while Adam nipped out for his usual iced latte and cinnamon swirl. This week he brought us “The Little Engineers Set” by The Dentists and “The Procession of Popular Capitalism” by McCarthy. Did you get the connection? It was of course the return of The Apprentice on the telly!

This week’s Vigil is going out live on the air, but I have been lucky enough to get hold of the info on our participant. He’s clearly a very brave man as he’s agreed to visit the studio and spend some time with Adam, so let’s meet Paul:

I’m Paul Burnett. I’m 39 and a bit of a mongrel! Scotland born, Australia bred now living in Scarborough with my beautiful wife Katey and two sons Ryan and Owen. Since I can remember I’ve been fortunate to have been around great people who have impeccable taste in music and in the age of chew-em-up-and-spit-em-out pop bands, whether it’s subliminal or forced, my challenge now is to make sure my kids are exposed to alternatives to the mainstream! A big thanks to Adam for a great show and for the opportunity for my 15 minutes of fame.

So, going out live on the show these are Paul’s three tracks:

Something Old

New Order – “Every Little Counts”

I find imperfections and chaos in music very attractive and a few high charting singles aside, this band were mostly unpolished – especially in a live setting. I discovered this band over 25 years ago and loved everything about them. I was particularly fascinated with the story of their record label, Factory, and how this affected their sound. The label had a very unorthodox approach, but allowed them to maintain full artistic integrity. The sound, the slick but very expensive Peter Saville artwork, the musical reinvention through the years after the Joy Division years made for a really interesting musical journey.

My choice for Something Old is taken off their 1986 album “Brotherhood” and although there are far better crafted tracks on this album and throughout their back catalogue, it captures the essence of the imperfect chaos that makes them one of my favourite bands of all time.

Something Borrowed

The Flaming Lips – “Do You Realize?”

The Flaming Lips were a retrospective discovery. A good friend of mine in Australia was a big Flaming Lips fan and he lent me several albums prior to the release of arguably one of their finest “Yoshimi Battles the Pink Robots”. The Lips stay true to their experimental sound in the album, but it’s also scattered with fantastic melodic pop-sounding songs.

So, for my Borrowed selection, I’ve picked a song that means something different to everyone who listens to it. It’s also the song to which my wife, Katey, walked down the aisle to. 

Something New

Alt J – “Taro”

My choice for Something New is “Taro” by Alt J. A really beautiful track in so many ways and another band with unique sounding vocals. In my opinion, Taro is by far the stand out track on the album “An Awesome Wave”. I love the way it builds through each chorus with the Indian Bhangra sounding guitar work which is actually created by finger tapping with a roll of electrical tape. If this is new to you, I hope you enjoy it as much as I do.

I’m writing this before the show, so hopefully it all went to plan and you enjoyed the first ever live Vigil. Thanks to Paul for sharing his song choices with us along with the reasons why he’s picked them and also for braving being in an enclosed space with Adam!

Listen in to the show next week to find out who will be featured in the vigil and then come and join us for a debrief along with a replay of their tracks.

And finally, as always, don’t forget to tune in to http://www.radioscarborough.co.uk/ on a Wednesday night to hear some great music and chat.

Super Subs Week #3

We’re already just over / just under the half-way mark in Super Subs Week, depending on whether you count the weekend as a subset of or adjunct to the week. Either way the prime music submissions just keep on coming.

Split Feed

Bandcamp | Facebook | Instagram | Twitter

Split Feed are a trio from Newcastle, Australia. Their new single, Vanilla, rocks in the uncomplicated full-barrel way of the best three-pieces and you can can grab it for whatever price you deem fit and appropriate from the band’s Bandcamp page. While you’re there, why not also grab the Googolplex EP?


Harriet Little

Facebook | Twitter

With the absolutely entrancing “America” already out, Harriet Little offers more evidence that her debut EP, due out in 2016, will be a sound touching in its majestic use of control and gentle emotive shifts.


The Chancers

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There’s something familiar in the opening bars of My Love: familiar places, eras, and sounds. And then a much bigger bass than you were probably expect rolls in underneath suddenly there’s something new AND something old, and you’re thinking that if it works for Richard Hawley or Allah-Las, this kind of through-the-ages jangle can work for The Chancers, too.


Nice Place

Facebook | Twitter

It’s so easy, too easy maybe, to listen to a new single today and say how ’80s it sounds. Which is why, every now and then, it’s nice to be able to say it, and not be referencing neon, new wave and new romantics. Recovering harks back to another side of that time, the one with a hint of reverb, perhaps a little storytelling, and a melody that started life as a bedsit composition and ended on an indie-pop compilation.

“Recovering” is out on 27th November, via Matrix Promo Music.


PLGRMS

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I sometimes fall into the trap of thinking that I’ll probably only get contacted by bands with a handful of followers or streams behind them. And then I see something like this: “Pieces”, the debut single by Sydney/London duo PLGRMS, has over 29K plays on Soundcloud. It is a large number and a very small one at the same time. The only difference is whether you’re looking at it from the perspective of an artist starting out, or one who’s already part of the scene.

As for the track, well, Pieces is mournful and uplifting, glitchy and smooth as you like. With every beat, it finds ways to sever a distance between disparate halves, before pulling together for a closing triumph.


Audionauta

Bandcamp | Facebook

Sure, there’s a lot of ambient, orchestral, chilled post-rock, post-wave around these days, but I don’t recall that being a problem for genres and movements already more casually accepted into the cultural mainstream. Besides, Audionauta are the first Argentinian band I’ve come across who are creating this sort of sound, and the melodies and atmosphere are as rich as any I’ve heard.