Month: September 2020

Categories
Indie/Indie Rock Why We Love

Why We Love: Beabadoobee

I first discovered Beabadoobee when she was a humble acoustic solo artist early last year as she opened for The 1975 for a small show. And with most opening acts, you’re not really in the mindset to listen, let alone to one girl with an acoustic guitar trying to hype up 600 people for one of the biggest indie/pop bands of the decade, but something about her really struck a chord with me. It may have been the unique use of alternate guitar tunings, giving a somewhat exotic feel to her songs, which is missing in a lot of mainstream bands and artists these days, or her beautiful vocals sprinkled superbly onto her songs. One thing that I thought was quite bold was despite being a relatively unknown artist, whilst being humble to her audience listening to her, she had banter, and attitude which really made her stand out as a support act.

After I came home that night, I went straight on Spotify to find her work and discovered her EP’s Lice and Patched Up. The latter featuring the brilliant bedroom pop ballad Dance With Me, and rocker tune If You Want To. Instantly I was hooked, simply brilliant songwriting, with clear inspiration from people like Elliot Smith and Alex G, and already with those two songs I realised just the range of her ability to write. Her lyrics are something that really resonates with people today, including myself. Being just seventeen when writing at this period of her life, the struggles of being a teen is obviously something unanimous that we all go through, the struggles with love and mental health issues such as depression, self image or even insomnia, Bea beautifully manages to encapsulate all those feelings through her music and it makes every listening experience feel so personal and intimate.

Later in 2019 she dropped another EP titled Loveworm which showed some fantastic sonic development, showcasing a more grungier sound, like the perfect progression from 2018s If You Want To. Loveworm contains the blissfully sad Disappear which even now I think is one of her best tracks. It also gave us Angel, a dark slow punk song, that’s instrumentation makes you reminisce about what life would be like if you grew up in the 90s, and if you were lucky enough to experience the music of the 90s, then Loveworm should take you right back. Loveworm isn’t all doom and gloom though, with You Lie All The Time and Apple Cider, being upbeat indie songs to dance around with your friends at the party where half your mates are on the floor spacing out from the stench of cheap beer sticking to any and everything. It’s the quintessential teen soundtrack. 

Later in 2019 STILL she treated us to the lead single from her EP Space Cadet, with She Plays Bass, and goodness me, 2 years and 4 EPs with ridiculously unique sounds, honestly, the production on Space Cadet is astounding. Every instrument pops out and you can appreciate each layer. She Plays Bass has a fantastic bass riff, a wonderfully cute message within the lyrics and is just such a glamorous indie banger. And it doesn’t stop there, the opener Are You Sure is a phenomenal way to kick off an EP with such a natural progression from the sound from her previous efforts. The wonderful ode to the likes of Pavement with the song I Wish I Was Steven Malkmus, which just gets more addictive the more you hear it. The title track is the perfect closing theme to a coming of age movie, better yet it’s actually the EPs closer so listening to it from start to finish feels like a real cinematic experience, and you might just be walking to the shops, it doesn’t matter, Beabadoobee makes you relish every moment of your life. The unsung highlight of the EP for me is Sun More Often. It feels like a song from Loveworm, but with the fantastic production of Space Cadet, the alternate guitar tuning and open chords just make you feel like you’re in a saucepan with heroes such as Pavement, Mac DeMarco and Ariel Pink. It was around this time Bea announced her live performance lineup, and how her music would be more like a band than solo artist, both sonically and creatively, to which I will now dub as, Beabadoobee: The Band. Which by the way, are all fantastically talented musicians who you should check out as well. 

Since her EP’s, after waiting long enough, we have been granted with the most wonderful news of Beabadoobee’s debut album Fake It Flowers, due out October 16th, as well as being treated to singles during the lead up to the album. It all went off with the first single Care, initially teased on her instagram in August of last year, devoted fans finally got the chance to hear the song in full and with all its glory. The near perfected sound of Space Cadet has been finished and the production of Care is delicious. The melody being crazily catchy, and the guitars making you involuntarily want to head bang. It’s crazy hearing how her sound has evolved from the days of her earlier work such as Lice and Patched Up but it’s fantastic to see young artists be able to develop their styles the same way that we consume art, by jumping onto something new as soon as something ends, whether that’s intentional or not. Beabadoobee is a very modern artist, but knows exactly how to pay homage to her heavy influences. With the likes of the next singles Sorry and Worth It, we really get to wrap our head around the sounds we’re to expect when the new album drops next month, and I cannot wait.

It’s wonderful to see a young, non-male, non-white artist get recognition and thrive within the music community, keeping things fresh but having a distinct sound that gets you nostalgic for someone you may not have even known about for very long. Beabadoobee is helping to revive the sounds of the 90s to a brand new audience and it’s brilliant because the sounds of the 90s rarely get a modern look in, due to the height of the demand for 80s new wave, pop and rock soundscapes. People know about Oasis and Nirvana, but delving into the deeper sounds of the 90s, bands such as Pearl Jam, The Smashing Pumpkins, Soundgarden, Porno For Pyros, Sonic Youth and Pavement that ultimately become the hidden gems to young music consumers that really should be household names and instantly recognisable sounds and brilliantly, Beabadoobee is making that happen. People are finding a new found love for this modern grunge sound, and so people inevitably want more and actively go out to listen to their new favourite artists influences.

The combination of that oh so angsty grunge sound is deeply complimented by longtime friends and collaborators Bedroom, who pair the evocative instrumentations with retro filmmaking, shooting their videos on film with Super 8 and Bolex 16mm cameras, and also utilising a lot of homemade props and sets, a lot of hand drawn elements that feel like they could have been made in, well a bedroom. The entire atmosphere of Beabadoobee’s world is so unequivocally raw and vibrant, the performances, the music and the videos, there is no stone unturned with her, and it’s pretty awesome to see.

If you’re in the UK you can see Beabadoobee on tour next year, or catch her at Reading and Leeds festival 2021. The bottom line here is that Beabadoobee is here to stay, and is here to get big. It’s pointless to not delve into her music because you’ll be in for the ride regardless, just you wait. Prepare to listen to 4 insane EP’s, witness a lot of hair colours, and experience album #1 as it unfolds. We can’t wait to see just how much Bea will grow in the coming years with the release of Fake It Flowers, and can’t wait to rock with her for many years to come.

Top tracks (so far) are Coffee, If You Want To, Disappear, Apple Cider, She Plays Bass, I Wish I Was Stephen Malkmus, Care and Worth It. Catch her on Spotify, Apple Music, and Instagram (@radvxz), because you will not be disappointed.

Categories
Jazz/Blues Soul/R&B Why We Love

Why We Love: Black Joe Lewis & The Honeybears

James Brown has been reborn – Black Joe Lewis is quite possibly a music legend out of his time. It’s been a long 16 years from his days as a seafood delivery man and pawnshop employee to the now multi-album success he is today, and that journey hasn’t been easy. In March this year, Lewis and his band ‘The Honeybears’ hit back with their single ‘Five Dollars’ after a 2-year break since their last studio album, The Difference Between Me & You. They bring back with them their immense soul sound and Lewis’ phenomenal voice. It’s made us incredibly excited to hear what other music could be in the works.

Sometimes I find myself listening to a Spotify playlist sent to me, enjoying all the songs that come up one by one, and then a song comes on which just hits differently. A Soul classic which has escaped my radar? No, a song released only this year – Black Joe Lewis & The Honeybears.

Their music layers Lewis’ evocative lyrics over fantastic guitar riffs and striking horns which are reminiscent of Charles Bradley’s Menahan Street Band. You wouldn’t be able to tell if these records were recorded today or decades ago, the inspiration of classic artists like James Brown and Howlin’ Wolf are so heavily embedded that the classic sound of old soul records is weaved throughout.

Joe Lewis first picked up a guitar whilst working in a pawn shop in Austin Texas in the early 2000s. After discovering classic blues records and teaching himself to play, he spent years performing at open mic nights, small venues and bars, never making much of a name for himself. It wasn’t until the release of his debut EP Black Joe Lewis and The Cold Breeze, that he had a hit with the truly incredible ‘Bitch, I love you,’ and thereafter, everyone seemed to know who Black Joe Lewis was.

In subsequent years, Lewis toured alongside the band Spoon, the drummer of which, Jim Eno, then produced Lewis’ debut album ‘Tell ‘Em What Your Name Is!’ which quickly alerted the rest of the music industry to his presence.

This peak of success was shortlived however, things soon began to decline for Lewis. A combination of band and management conflicts resulted in a drop in album sales, the loss of festival bookings and a collapse in the band’s name and popularity.

It wasn’t long before Lewis found himself back where he started, having recently released their 2018 album The Difference Between Me & You, it was met with almost no attention, sales or interest.

Along with this, Lewis’s costly recent divorce, his newborn child and an outstanding debt of $50,000 in management fees, Lewis nearly saw an end for his music career. He debated giving up and finding a ‘real job’ in order to pay for all this and to take responsibility for his child.

But as so many of his musical inspirations have found, in hard times, music was the only light at the end of the tunnel and the only way forward.

Now under new management, Black Joe Lewis & The Honeybears are making a powerful comeback with their smashing new single ‘Five Dollars.’ Bringing back with them their fantastic guitar and horn-driven sound to a track which has seemingly reignited their careers and caused a rush of discovery for their recent album which almost went unnoticed, giving it the attention it was denied at the time of its release. Once again, Black Joe Lewis and the Honeybears have got our attention, and this time I don’t expect they’ll let that slip away once more.

As soul and blues music once made its way across the Atlantic and ignited a fire across the world, Black Joe Lewis has been inspiring the second revolution of blues, soul and rock and roll.

This is great music, dancing music, and above all, music that makes you feel good, something the world desperately needs right now.

There isn’t a single song of theirs I can say I dislike. Listening to them is like jumping in a time machine and travelling back to the golden age of Funk and Soul, something I wasn’t around to experience but can now fully appreciate. Unlike those past music legends, Black Joe Lewis is still very much a living, breathing man who I’m excited to go and see live once I have the chance to. To all those Soul, Blues and Rock and Roll fans who think music isn’t what it used to be, take a listen to Black Joe Lewis and transport yourself.

Black Joe Lewis & The Honeybear’s new single ‘Five Dollars’ is available to listen to now, and if the incredible story of his past few years hasn’t inspired you, the feeling in his music will.

Categories
New Wave Pop/Indie Pop Reviews

Review: New Order – Be A Rebel

New Order in more recent years are a bit like Marmite. You either love them or you can’t stand them. Once the pioneers of ’80s dance and club music, now seen more an icon in British music as to what was. But despite members leaving and 2 breakups, the band are still making music, playing to audiences and showing continued success. After 2015’s ‘Music Complete’ with the odd live album released here and there, fans were wondering whether breakup number 3 could be on the way, curious as to whether the ’80s electronica power group would have any sort of real presence in the 2020’s. But here we are with the new single ‘Be A Rebel’.

‘Be A Rebel’, if you’ve been listening to New Order for the last 10 years wont come as any sort of surprise in terms of the sound, in fact I think it sounds like a B-Side to ‘Music Complete’, perhaps the 2015 album wasn’t as complete as we once thought, with Bernard Sumners saying the new single was a “leftover” that “didn’t make the cut” for 2015’s ‘Music Complete’ which you can tell just by listening. This isn’t inherently a bad thing though, I really liked the thematic sounds of the last album, and so hearing ‘Be A Rebel’ after 5 years of radio silence from New Order sparked some joy in my eye. If you liked the sound of the last album then you’ll probably love the new tune just as well. For me? I can appreciate using older work that never saw the light of release for future music, plenty of bands have done that, and done it marvellously well. But here, I don’t know how well it holds up. 

Now I’m not suggesting the song should have stayed a leftover, but it’s not the typical boom you get from New Order singles of the past. Tracks like ‘Krafty’, ‘Restless’ and ‘Regret’, they stick out, there’s a real sense of motion within those tracks, whereas here, ‘Be A Rebel’ is more of a quiet, dreamy, foot tapper than what we’ve heard from the band before. And I’m not comparing to the likes of ‘Blue Monday’ because that would be unfair, the band released that almost 40 years ago, and have gone through many musical changes since then, but one consistency I feel is missing here, is the power behind the track. It doesn’t sound too unlike the sounds from their last album and it doesn’t go off with a bang, which after 5 years, you would expect a bit of a rework when it comes to older music that never saw the light of day being released half a decade later. 

I’ve heard the comparison to the likes of Sumner and Johnny Marr’s supergroup duo ‘Electronic’ which you could argue the similarities sure, but there were already similarities to New Order back in Electronic’s heyday, so it all comes full circle, so of course work that heavily involves Bernard Sumner, will have sounds that Bernard Sumner is known for using. Perhaps I’m expecting too much from a band with such a high legacy. Perhaps the track is a grower not a shower. All I can say, is that if you’re expecting the next big wave of sound from New Order, then prepare to be disappointed. That being said, if you loved Music Complete, then you’ll probably really enjoy this. It’s by no means a bad single, but definitely feels a tad lacklustre. Opinions can change though, quite drastically, let’s not forget the certain “punch-your-TV-obnoxious” band that a particular music magazine once hated and now absolutely cherish. So in terms of changing tone on something you like or you don’t, I’m not going to be rash here. But I do think if we’re to expect a new record from the Mancunian monsters, I wouldn’t bet any money on ‘Be A Rebel’ being a part of a new and evolved sound. 

Lyrically the song comes across as pretty relevant, perhaps the recent Black Lives Matter protests are what sparked Bernard and company to revisit the track. The song talks about how the world can be a “dangerous place” but it’s “all we’ve got”, referring to people being “different” and that being okay. “Be a rebel, not a devil”. Clearly there’s a key element to rebelling against what we know is wrong, but doing so peacefully. Echoing terms we’re all grown up with like ‘two wrongs don’t make a right’. It’s a clear outlook on the world from Sumner’s eyes, and from that regard is a very welcome conversation. Allies and Rebels are what the world needs right now to really make a change, so it’s a particularly prevalent topic that we should all take on board.  

If you want to hear a modern and more evolved take on the alternative dance, techno and club sound, I highly recommend listening to artists such as fellow Manchester band ‘Everything, Everything’, the Scottish trio ‘Chvrches’, London’s own ‘Georgia’ or simply go back and listen to New Order’s older material. Music has no expiry date, and it’s never the wrong time to stick on a classic, or discover a band that you don’t know much of the deeper cuts of their discography. 

The good news to take away from ‘Be A Rebel’ is that New Order have not slithered away into nothingness, and there’s hope for more music still to come. You can see New Order on tour in 2021 across the pond with the Pet Shop Boys, and a special one off UK show at London’s 02 Arena in November next year. Until then, let’s hope our Monday’s aren’t so blue. 

 

 

Categories
Indie/Indie Rock Reviews

Review: Oscar Lang – Hand Over Your Head

Who the f*ck is Oscar Lang? Well someone you’re bound to wanna know by the end of this. The twenty year old Londoner has been making music since he was eleven, but properly started writing under the alias ‘Pig’ in 2016, and since then has been making quality compositions that you may already know of. Lang met fellow artist Beabadoobee through a mutual friend and started working on tracks together, so far as producing her work up until her second EP, all whilst recording and producing his own work, so rest assured, the guy seems to know what he’s doing, in and out of the studio. 

Previously calling his music the product of rolling “Mac DeMarco, John Lennon and the Wii shop channel music into a ball and putting it inside Kevin Parker’s butthole.” Which is a fair summary really. His earlier work definitely gives off the indie vibes of Mac DeMarco, the almost gruffness and brutality of some of his lyrics, but fine tuned to sparkly guitars and thick synths, all drenched in halls of reverb that make you almost transcend into a different reality. The psychedelic influence of Kevin Parker has definitely been noticeable throughout his discography. But today comes the release of his new EP, Hand Over Your Head and is the biggest change to his sound since he started releasing music 4 years ago. We were treated to the rougher sounding Apple Juice back in July, and it was the perfect way to introduce a shift in sound to his audience. Not a complete change in atmosphere by any means, but enough of a change to feel like you’ve travelled someplace else when looking back to his earlier work. There sounds like there’s a bit more anger and a lack of patience amongst this record, there’s no waiting around, Lang wants to get moving, and having to spend most of your year quarantined it’s really not the most outrageous feeling to have when everything seems to be crumbling around you. 

Next we got the similarly more rocky racket Get Out, a very obvious commentary on the effects of being trapped indoors for so long, and the extent of the heavy toll it takes on your mental health. But equally it’s something relatable to introverts anywhere, not just a lockdown lullaby. Most of us go through anxious phases where we don’t go out and it feeds into a never ending spiral of worry, so Lang really knows how to nail a tune down to some relatable lyrics that’s for sure. The soundscape was slightly more Oscar Lang than the likes of Apple Juice but still showcasing the newer and dirtier vibe we were delighted with Apple Juice.

But with the release of the entire EP we can really get down and appreciate the nitty gritty of the new sound. Imagine Sgt. Pepper’s Lonely Hearts Club Band, but a more polished sound with the prevalent issues that our generation faces written all over it. It kicks off with Wake Up, a ticking clock, birds tweeting and strange noises all leading to the climax of an alarm going off transitioning smoothly into Apple Juice. Already you get a vibe for the sensory overload that is yet to treat your ears, similarly to the feeling of waking up and struggling to keep your eyes open. After being greeted by tracks 2 and 3 which are the singles we’ve already heard, we get Drinking Wine, a fast boom, that starts off with a more traditional intro to an Oscar Lang song, almost sounding like a the type of track you’d hear on Overthunk, but resurrected with the angstier production of Hand Over Your Head. Three tracks in and already the new vibe is something you can almost taste, the basslines with so much more tone, the drums that pop out so much more, Lang manages to create this feeling of adrenaline that zooms by, you almost forget where you are as so much happens.

We’re then greeted by I Feel Good, which starts off slow almost like after a morning of chaos where you finally manage to catch a break to take a deep breath, before nipping back into the second half of the song, where the rockier side of Lang overflows, like a Miles Kane or Oasis song, definitely one that’ll start a few mosh pits when we can all get back to gigging. It’s like the busyness from the start of your morning is no longer out of hand, and you’re starting to take control. The depth of the distorted guitars, with a brit-pop sounding solo that just makes you want to kick the air, it’s truly something wonderful here. 

Any longtime fans will be delighted to hear Velvet Dreams, originally released only on Lang’s Soundcloud a couple years ago, which has been produced and shaped up to be a stoner’s serenade. Being an older song, it’s definitely more of a traditional Oscar Lang sound, which makes you start to question the reality you’re in, because the psychedelic soundscape is absolutely breathtaking, it’s definitely one to gaze up at the stars whilst you listen. Being the EP’s ‘slow song’ it completely sticks out, but not like a sore thumb, but more like when you spot that someone in the crowd that makes your whole world stop spinning, as everything but them becomes meaningless. After that extraordinary experience, we come to the EP’s end with Outro, the outro of the record. A short descent back to reality that’s almost a punishment really, just as the high of Velvet Dreams starts to fade away, we’re at the end and you just desire so much more, but thankfully there is much more where that came from. 

From the adrenaline filled Apple Juice to the ethereal polyphonic textures of Velvet Dreams, Lang creates a euphoric atmosphere that’s easy to love, yet hard to get over. Some of his best work yet, and I absolutely can’t wait to hear more from the loveable lad. I’d give you the top tracks but that’d be unfair, they’re all beautiful. Just go listen to the whole EP and see for yourself, it deserves a listen all the way through, it’s the best way to experience it. 

I highly recommend you work your way through Lang’s entire discography on your favourite streaming service, and when you’re done check out his Soundcloud, because there’s loads more of his work that feels like you’ve discovered an Easter Egg in one of your favourite games. It seriously shows off the guy’s talent, and from working on music from such a young age. At only twenty years old, he’s not only a fantastic songwriter, but also a profound producer that I genuinely think will blow up and go down in history. 

Categories
Indie/Indie Rock Pop/Indie Pop Why We Love

Why We Love: Inhaler

Just when you thought Dublin couldn’t possibly produce any more incredible bands, you suddenly discover the music of Inhaler. This four-piece rock band, fronted by son of U2’s Bono, have a more unusual beginning than most. They met and first began playing together in 2012 while still at school in Ireland. Their first ever gig together was the school’s talent contest, where they performed a cover of Nirvana’s ‘Smells Like Teen Spirit.’

In 2015, they became Inhaler after being given the nickname by their school friends due to lead singer Elijah Hewson’s struggles with Asthma. Three years later, the band released their debut single ‘I Want You’ and the boys quickly gained popularity, becoming known for their dirty bass lines, heavy rhythms and psychedelic melodies which are highly reminiscent of early 2000s bands like The Killers. Despite this relation in sound, the boys dress sense and album artwork actually bare a strong resemblance to an early version of The Smiths.

Hailing from a regular Irish college rather than one that specialises in music, the band have said their ‘weird’ style and music taste was ‘poles apart’ from their fellow peers, which naturally meant the boys had to stick together.

After recording a demo of their single ‘Ice Cream Sundae,’ they quickly gained the attention of none other than Antony Genn, producer and former member of Pulp, who nurtured the band, giving them the studio space they needed and forcing them to practice harder. This school talent show band soon began playing sold-out venues in and around Dublin, and after releasing six more singles, have become the fully-fledged band-on-tour they are today.



Inspired by their parents vinyl collections, which included bands such as The Stone Roses, Depeche Mode and New Order, they’ve managed to produce a sound of their very own including the best bits of all these inspirations. They possess a psychedelic structure similar to Interpol, a drop of New Order’s synthesizer experimentation and a splash of Sonic Youth’s kick.

Robert Keating (Bass), Ryan McMahon (Drums), Josh Jenkinson (Guitar) and Elijah Hewson (Vocals) together have gained industry-wide attention, being featured in The NME 100 and finishing 5th in The BBC’s Sound of 2020 vote, incredible achievements for such a young band.

As the son on music legend and U2 frontman Bono, lead singer Elijah Hewson has clearly learnt from the best. For the sons and daughters of established musicians, there always comes a certain amount of pressure, but it seems Elijah and his band have managed to pioneer something new and blow those expectations out the water.

Inhaler have now gigged with the likes of Noel Gallagher on their first American tour. They began this year with the release of their single ‘We Have To Move On’ a song I haven’t stopped listening to since it’s release. Later, they released the double-sided single ‘Falling In’ in the build-up to the launch of their debut album which is yet to be announced. The band released this awesome video filmed during isolation of 2020, a time where they should have been gigging:

This is a band we can’t stop listening to, a true must-have on the playlists of fans of The Killers, The Smiths, Oasis, Pulp or any of the other bands mentioned above.

We look forward to the release of their album, but until then, indulge yourself in one of their fantastic singles.

Categories
Indie/Indie Rock Pop/Indie Pop Soul/R&B Why We Love

Why We Love: Maya Delilah

It’s so rare to find a proper up and coming artist to really dig into, but god am I glad I found Maya Delilah. For fans of Sycco, Her’s, Gus Dapperton, Clairo and The 1975; Delilah is someone you absolutely must get familiar with. Her debut EP Oh Boy was released at the start of July, a smooth, lofi, chill pop EP that just makes you wanna bathe in the sun and forget about your troubles, and experience the inner thoughts of Maya’s wonderfully playful world. 6 tracks of pure majesty, with phenomenal production, elements that sound inspired by Tame Impala, crossed with John Mayer adding the soundscape of Her’s baked into the musical pie that is Delilah’s Oh Boy. And the even better news? She’s already been teasing snippets from her second EP, yet to be officially announced, but damn does her new material sound just as slick as the songs on Oh Boy and I am genuinely ecstatic for it.

The fabulous video for her song I’m Just Stupid was shot from home during quarantine, and to help make the video, she asked fans to send in drawings to feature in the video, and as you can see, she got a LOT of drawings, which is a wonderful thing for an artist to do to engage with their audience, and something I sincerely hope she doesn’t grow distant from as time goes on.

Maya’s silky voice serenades you throughout the EP, taking you on a journey that just takes your breath away, which is ironic when you consider the title of the closing track, Breathe Easy. Delilah manages to blend such familiar sounds in such unique ways that make it feel like such a fresh sonic experience in the abundance of soundcloud and bandcamp chill hop artists looking for homes within your music libraries, Maya defies this, spreading a bubbly narrative of her life. Her songwriting ability is absolutely killer too, catchy hooks and riffs that just cut right through the mix, melodies that you just cannot get out of your head, it’s infectious. Not to mention the fact that she’s a ridiculously talented guitarist, with the comparison to John Mayer mentioned by fans on multiple occasions. I mean just listen to the solos in I’m Just Stupid and Breathe Easy and try to deny it. You can’t. It may be bold to say, but it’s true and that’s the tea sis. She even managed to write and release Safe, a quarantine inspired track back in March, so power to you.

She was featured on an artist spotlight for Marshall and it’s there where you really get a vibe for who Maya is, and you really start to see from the music she grew up with and how it’s moulded her style. It’s brilliant to see young musicians buzz with genuine creativity, who really know their stuff, appreciate the cultures and genres they’ve been introduced to, and be able to experience the glee that is their talent, not in uptight way, but to really see them have freedom and crucially, fun and enjoyment in their own music, all the while staying humble. Honestly it’s crazily inspiring.  She also delves into how she started writing, and like we’ve seen with the likes of Georgia, shows how these days you don’t need to know a guy who knows a guy who knows a guy to get signed and get your music out there. You can carefully craft your art at home, or as simply as singing and soloing over looped chords from a Boss Loop Station, you can build a following through apps like Instagram and TikTok. You can use your art and your passion and make a career out of it, and it’s wonderful to see.

She’s also been doing a fantastic job at inspiring young girls to pick up a guitar and get into music, utterly proving that girls can rock a guitar just as well as the boys thank you very much. Give Maya a guitar and a looper pedal and she could inspire anyone for hours, there’s just something so present about the way she writes, plays and sings her songs that can’t really be described. Whether it’s the relatable lyrics from waking up wondering where your cat is, to ignoring what others think about your relationship because you know it’s right.

Delilah is an absolute delight, and you’re a fool to not listen to her music and keep tabs on when more is due to arrive to melt our ears. You can follow her on Spotify, Instagram and even TikTok (@mayadelilahh) where you may even get a sneak preview of upcoming songs such as Moonflower.

Maya Delilah leaves you wanting more, and gives you this floaty optimistic feeling. Someone who really knows and has perfected their craft already at such a young age, the future for Delilah is going to blow up and we can’t wait. A hidden gen Z gem that you’re sure to revel in.

Top tracks are I’m Just Stupid, Tangerine Dream, Gato, URU, Breathe Easy and Safe. 

If you’re not listening to Maya Delilah, then Oh Boy… are you missing out. I leave you with the music video for her EP’s closer, Breathe Easy and just see for yourself. An upcoming artist that is not to be reckoned with.

Categories
New Wave Pop/Indie Pop Why We Love

Why We Love: Georgia

Georgia is a producer, songwriter and multi-instrumentalist who is lighting a fire under the feet of Electro-Pop fans in the UK. Her self-titled debut album, released in 2015, was recorded and produced single-handedly at her home studio in north-west London. After years of silence perfecting her sound and a nomination for a mercury prize under her belt since then, Georgia hits back with her brand new album ‘Seeking Thrills’ and has quickly gained recognition as one of the UK’s most exciting up and coming new talents.

Georgia’s music is exhilarating and energetic. Her sound combines the best of modern technology with classic synthesisers used on some of the most legendary 80’s records from Depeche Mode to Yazoo. Her rich, catchy melodies twist through Electro-Pop and House groves creating something irresistible to stomp along to. Both her albums are a true homage to the 80’s club scene. In many ways, Georgia’s sound feels almost a blend of the very best parts of older bands such as New Order and modern artists like MIA. This unique amalgamation has quickly earnt Georgia great attention from the UK music industry.

Growing up as the daughter of Leftfield co-founder, Neil Barnes, it’s clear that many of the inspirations of her father have influenced her own music. But make no mistake, Georgia has been pioneering her own fresh ideas independent from her fathers legacy.

Georgia studied music at The BRIT School where she developed herself as a drummer. I remember first hearing about Georgia while I myself was a student at BRIT. So I suppose I was given a very unique insight into the excitement she created at the school when she first hit the scene. After her single ‘Started Out’ was released, word spread through the school, and indeed around the rest of the industry, like wildfire. A proud moment for her peers, and by the time I had left, her picture was hung proudly inside the school.

I had the pleasure of meeting Georgia at BBC Introducing Live last year where she spoke in great detail to a room of young musicians about her process of writing and recording. It was an incredibly enlightening talk that she gave, and she showed these young creators that they no longer need to be able to hire a studio or sound engineers if they want to create music. I could see the confidence she installed in the eyes of the audience and she seemed to genuinely care about hearing the stories of young artists.

My favourite part about her talk at BBC Introducing was hearing her nerd out about her collection of classic synths. I especially love artists who know their stuff, and it’s that knowledge which has allowed her to create her special sound.

I think the biggest thing that Georgia and her music represent is the shift in the music industry over the last 20 years – no longer do you even need to leave the house to have a hit record, but don’t let it be said that it’s any easier. The thing that sets Georgia apart from DJ’s or other producers is her knowledge of classic production techniques and her talents for mixing songs as well as playing and singing, not to mention her incredible ability for lyric writing, which she says finds most difficult but takes inspiration from her idol Kate Bush.

I also need to mention her incredible on-stage performance. This is definitely what intrigued me about her – and whoever said a female drummer couldn’t perform live on Jools Holland AND sing AND look totally cool doing it?

At least through what I’ve seen, Georgia has been so incredibly inspirational to a lot of young musical, especially female talent, and shows that a young woman from London can accomplish so much without the need of assistance – Georgia is an artist who deserves our attention.

Her new album ‘Seeking Thrills’ is available to listen to right now.

Categories
Pop/Indie Pop Why We Love

Why We Love: Sigrid

Norweigan pop star Sigrid has been hitting the airwaves since 2017 with her debut single Don’t Kill My Vibe, but has been making noise in and around her hometown of Ålesund since she was 16. Since her EP’s ‘Don’t Kill My Vibe’ and ‘Raw’ as well as her 2019 debut album ‘Sucker Punch’, she’s been building up to be one of the most iconic and talented young artists we’ve seen in a long time, being crowned BBC Music’s Sound of 2018.

 

In a pop world dominated by men, manufactured stars, overproduced inhumanity and sadboy folk cheeseballs, Sigrid is a breath of fresh air. Firstly she’s incredibly natural, from the way she dresses showing she’s a person just like you and I, the way she’s not oversaturated in makeup and product to make her look as perfect as ‘humanly’ possible, to the way she moves and dances around the stage to her own music like anyone in their bedroom would to their favourite band. Secondly, the amount of talent that resides within this one woman is insane, not only does she know how to write a tune, she actually writes her own tunes, spending time writing songs on her piano, and transforming them into synth pop anthems in the studio. 

She’s given us songs like Strangers which in the charts reached the top 10 the week it was released, and Don’t Feel Like Crying, which turns a sad breakup song into a banger that makes you wanna dance with the biggest grin you can produce. Her vibe is infectious and her talent is undeniable. After hearing a few of her singles, her performance of Strangers on Later… with Jools Holland was what grabbed my attention and made me fully start to appreciate her as a pop musician. Her confidence and the way she absolutely owned the stage despite being fairly unknown at the time, her vocal performance which was completely on point, a voice that has incredible range, tone and even some raspiness when she wants to really shout, and her live music. Oh her live performances, not just some woman singing with a backing track, but with a full live band, which actually expands the sounds on her album, with electric guitars, vibrant synths, acoustic drums and her wonderful backing singer Kristina Skyberg who compliments Sigrid’s voice breathtakingly. Sigrid live is someone who deeply cares for the sound and ingenuity and it shows, her live band bringing her songs to life in a way that no upcoming pop star has done for years. 

Quickly Sigrid became my favourite artist of 2019, and one of my favourite artists of all time. She’s someone who cares, cares for her art, her audience and works hard to make sure every aspect of it is fantastic. Here’s to a bigger and brighter future of Sigrid’s music. You can see her at the Reading and Leeds festival 2021 next year, but if you ever see gig tickets going for a Sigrid show near you, I implore you to just go, you won’t be disappointed. 

Categories
Indie/Indie Rock Reviews

Review: Declan McKenna – Zeros

The long awaited album Zeros from Declan McKenna has finally arrived and it packs a punch. And when I say long awaited I’m not kidding, with McKenna saying back in December 2019 that the album was mixed and mastered ready for release, and here we are in September 2020, after 2 release delays, finally with the album in our hands, and ready to stream.

We were treated with the gloriously Bowie inspired Beautiful Faces back in late January, a glam rock stomper that absolutely goes off, and shows a definite progression from the likes of his earlier work such as 2015s Brazil, but still pumping that distinctive McKenna sound. In fact one key element to the more matured sound McKenna’s pulling off with this one is the fact that previous work would have been recorded by himself track by track with his producer, whereas this time round, McKenna set foot to get a band together in a room and play the songs, so with a full band in mind throughout the entire recording and writing process, you can see how the sounds have gone from big to gigantic, and feel a lot more scratchier and raw, which compliments the soundscape of Zeros very well.

The album’s sound feels like it was pulled straight out of a 70s glam rock band, it’s authentic without shying away from modern craftsmanship. This ranges from the glittery candy rock of the likes of Rapture, to the phenomenal ballad Be An Astronaut, almost bleeding the inspiration of songs like The Beatles’ Hey Jude and Queen’s Don’t Stop Me Now, feeling as if it’d fit in on David Bowie’s Hunky Dory, but comparisons don’t do it justice, you can hear the influences sure, but this is NOT Declan singing over a song that sounds like it’s made for someone else, this is jam packed of McKenna’s very identity, an organic young adult’s exclamation about the world they’re encapsulated by, with issues of social media stigma to self retrospectives. One thing that is inherently Declan is his voice which has always been iconic. Let’s not beat around the bush here, the voice cracks that add to the depth of the messages he wants to get across to the pretty incredible range he has. But this album shows his growth and maturity, the once heralded voice cracks, now raspy broken screams throughout the likes of Be An Astronaut and Rapture. Declan also really flaunts his falsetto on this album, and it’s the perfect remedy for pop-rock hooks and is just an absolute delight to listen to.

There are definitely elements of folk thrown into the mix of the album too, sounds that aren’t too far fetched from the likes of Bob Dylan or Father John Misty. And I say thrown because as brilliant as this album is, it definitely feels like a 40 minute explosion. A coherent one, but an explosion none-the-less. The themes and the sounds scream disorder, in fact a word that could sum up this album is ‘Chaos’, it’s something that feels like it goes straight into your bloodstream, but the production wraps up Zeros and makes it all feel like a home for the tracks, or perhaps an intergalactic cruise ship chasing after the likes of Ziggy Stardust to escape the dystopian present we’re all subtly sinking into. One of the big messages embedded within the record is that of impending doom, lusciously soundtracked to upbeat melodies. Declan’s never been one to shy away from making political statements through his music, and Zeros is no exception. The opening track – You Better Believe!!! Greeting the listener with the wonderful opening line “You’re gonna get yourself killed” which in the current climate, has never been more true.

Zeros is a social commentary with a vibrant disguise, where upon first listen you’ll melt into Declan’s band’s 70s serenade, and where a deeper look takes a breath to show you the state of what’s around you and how the epidemic doesn’t just stop with the likes of COVID-19, but with the far greater things at stake that strike fear into every young person in the 21st Century. It’s a chaotically wonderful listening experience and you just HAVE to hear it for yourself. Album highlights are ‘You Better Believe!!!’, ‘Be An Astronaut’, ‘Beautiful Faces’, ‘Daniel You’re Still A Child’, ‘Twice Your Size’ and ‘Rapture’. So, if you’re not familiar with Declan McKenna, then get familiar. Trust me when I say you’re missing out otherwise. It’s glam, indie perfection, and was born to be dialled up to 11.