Psychedelic rock band, Blac Rabbit from Rockaway Beach in NYC, are phenomenal, and from a place literally named Rockaway, they certainly live up to the name. Sometimes you listen to a band, and from the completely developed and slick production you assume they’ve got a massive presence with multiple albums and touring huge arenas around the world. However, upon discovering deeper into the lifeline of Blac Rabbit, I was incredibly shocked to find out they’ve yet to release their debut album and that they’ve made fame from busking in the New York subway, performing Beatles covers.
Think of combining the influences of greats such as The Beatles and Pink Floyd along with the contemporary magnificence of bands such as Tame Impala or MGMT. Formed of Bassist Josh Lugo, Drummer Patrick Jones, Keys player Justin Jagbir and fronted by guitarists, singers and twin brothers Raheim and Amiri Taylor. Blac Rabbit quench the thirst after listening to modern bands such as Tame Impala or Post Animal, psychedelic music is well and truly making its resurgence and taking it’s a stand against the flow of typical indie bands these days. Their song ‘Mindspace’ starts off and you can really hear that ‘Innerspeaker’ flair and the tightness these guys have for playing their hearts out is fantastic.
After spending their days playing Beatles songs to New York commuters, the guys of Blac Rabbit quit their day jobs to pursue music full time. Releasing their debut self titled EP around Christmas 2017, the band have gained some pretty stellar traction amongst like-minded music lovers, within fanbases of bands such as Tame Impala and of course The Beatles. The bands work definitely evokes the stylistic choices of The Beatles but definitely gives it a natural twist for it to fit in the modern streaming world, as well as really specifically nailing that psychedelic 60s sound for a modern audience. With the psychedelic rock genre, it’s hard to go about without getting references and comparisons to Kevin Parker’s Tame Impala slabbed all over the place, but Blac Rabbit seems to relish in that, actively saying that Tame Impala is one of their biggest inspirations. In this day and age, it’s almost a trope for young bands to list all the classic artists from decades gone that they admire, and forget about mentioning current relevant artists that may have had the same effect on them. So to see Blac Rabbit admittedly praise recent contemporaries is actually quite a refreshing and honest thing to do.
I first heard ‘Over The Rainbow’ last year and immediately fell in love with the sound of the band. Because of such a diverse range of musical inspiration, the blend of classic and modern production and songwriting feels so current and important for the indie scene today, to be able to break out of its repetitive nature of the last decade. I’m a big sucker for Psychedelic rock I have to say, but hearing this track for the first time really did transport me to another dimension, and all I needed was a pair of headphones. In their live performance of the track on Paste, you realy get a taste for the rawness of their playing as it really feels live.
Twin brothers Raheim and Amiri announced their debut album just before keyboardist Justin Jagbir joined, subsequently dropping the lead single ‘Seize The Day’ in 2018. Between then and now though, the band seem to have had quite the number of false starts in terms of getting the record done. Being such a new band, as you can imagine, getting the funds to get an album made is no easy feat. The band set up a crowd funder but unfortunately didn’t reach their goal, a trope that far too many up and coming bands have had to face. But after some publicity online and a couple of Ellen show performances, the band got signed, put together their own home studio, and their debut album Interstella managed to get recorded and mixed, just waiting on the mastering process as of July this year. Still awaiting an official release date, we’re pleased to know it should come sooner rather than later.
The most recent drop from the band is the mind-melting Windy Cities. The clash of the phaser driven guitars, the grounding drums, slick lead guitar and the ethereal vocals make for an out of body listening experience. The teasers from the new album and the concrete polished production compared to some of the rawer sounds from their self titled EP just make me so ecstatic for Interstella. Desperately wanting to hear it NOW! But good things come to those who wait, and from what we’ve heard thus far, the album will be well worth the wait.
Check out Blac Rabbit on Spotify, and keep up with them on social media such as their Instagram.
Sinead O’Brien is the Irish ‘punk poet’ that thrives on the edge; denying herself of anything cosy or familiar and instead opting for a ‘heavy heavy, busy busy life’ consisting of travel and new adventures.
Always doing things differently, her spontaneous attitude and lifestyle result in a lot to be grateful for; helping her to deliver marvellous songs, exploring the beauty in darkness, that we can’t help but love and believe that you will too.
Born in Dublin and raised in Limerick, the singer has never felt much of an attachment to a particular place but has always sensed a calling from further afield. This free spirit and ability to adapt to new ways and places feed their way into her consistently evolving songs. Using expansive language and sounds that vary from punk and folk to a hint of soul and funk, she expertly provides tracks that take you on a journey where, just like her, you’re kept on your toes every step of the way.
Despite her desire for re-location though, there’s absolutely no denying O’Brien’s Irish roots. The moment that she opens her mouth, she has you hostage; her divine accent delivering mesmerising words with equal parts grit and beauty. Painting a picture with every line, including desolate wonders like ”I feel like the daytime chasing the night” to relatable longings for motivation with “Days like this are the wildest way, to tame the flames, to get the head to higher…” she always leaves you longing for more.
O’Brien is currently living (but most definitely not ‘settled’) in London; the city where her real musical journey began. Upon her move, she fully embraced her desire for fresh experiences by taking a page out of Jim Carrey’s book and simply saying ‘yes’ to any opportunities that arose. Fortunately, for music fans, that included attending a spoken word night in Brixton where she first performed her poems up on stage. Subsequently, the natural lyricist joined forces with current bandmates Julian Hanson and Oscar Robertson and began to put her words to equally grand music; turning dreams and expressive thoughts into songs.
Her talent in doing so was undeniable right off the bat which led to Chess Club Records; the same label as fellow alternative rockers Wolf Alice, signing O’Brien up. She then began to release her hypnotising tracks with them, before stepping up a level from South London pubs when king of the punk poetry game John Cooper Clarke invited her on tour. The two immediately hit it off (which is no surprise when you listen to each of their gutsy works), and, thanks to JCC O’Brien was introduced to Mark E. Smith who she describes as one of her “most valuable references ever”.
As well as meeting one inspiration (who showed her the work of another), the tour with Cooper Clarke was also an opportunity to try a stint of something different once again, as like him she performed solo. After doing so she was told by a gig-goer that they could still “hear the music in it” which both she and myself completely agree with. Even without physical music present, you’re always touched by its essence thanks to her rhythm and heart, which is testament to the skill she has for her craft; consistently turning words into something so much more.
Her gifts don’t just stop there either, describing herself as incredibly determined from a young age, she pushed herself to excel in a range of areas both academic and creative- which even resulted in her moving to Paris to work for Dior. Just like her Irish upbringing, this motivation and affinity for style are also evident in her music; producing ambitious tracks that are sleek and well-tailored with a real artistic edge.
A sparse feeling is present in Sinead O’Brien’s songs, similar to that heard on Unknown Pleasures where space is intentional and meaningful; a bold move that not many even attempt to pull off. Each track contains an aura of magic, whisking you away on a different experience, that can vary from a trip to the dance floor on the snappy rhythmed ‘Taking on Time’ to dark dreams thanks to the strutting guitar and twinkle of keys on ‘A List of Normal Sins’. In doing so, she has laid the foundations to progress in any direction she wishes and seamlessly built her way up to releasing recent EP ‘Drowning In Blessings’; which to listen to feels like exactly that.
O’Brien’s intense voice cuts straight through the musical foundations of Drowning In Blessings’ tracks, her strong delivery inducing chills and making every word hit. Exploring the cynical side of modern culture in the likes of single ‘Most Modern Painting’ she generates such existential excitement with her observations on this and ‘Roman Ruins’ that you can’t help but feel riled up and ready to rock. She perfectly balances this edge and gloom with slightly more gentle elements though; resurfacing distant childhood memories of lullabies and carousels on ‘Fall With Me’ and closing with ‘Strangers in Danger’, her packed song on relationships between people and life- a perfect opportunity for reflection after the journey.
Filled to the brim with talent and creating songs jammed with ideas that are not only personal to her but can also touch each listener, O’Brien creates worlds within her work, and I firmly believe that it’s about time you’re swept away into them.
Introducing Katy J Pearson, a dreamy singer-songwriter based in Bristol. Though her debut album was recently released on 13 November, she is no stranger to the music scene. She had previously been a part of a duo alongside her brother called ‘Ardyn’, but unfortunately, issues arose with the label. As a result, Katy took a lengthy break from music and songwriting as a whole, convinced she should become a gardener instead. Thankfully, she has made her comeback at long last, and people have already been captivated by the young singer.
Appropriately named, Return symbolizes her new chapter as a musician. The record consists of 10 tracks, each of which pull you into a trance that you don’t want to snap out of. Katy’s voice is simply mesmerizing, and like Stevie Nicks and Joni Mitchell, she is nothing short of a songbird.
Trading in the indie-pop style of Ardyn for a more folk-y, rock-and-roll sound that’s reminiscent of decades past, Katy has blossomed as a musician. She is now under Heavenly Recordings, and in an interview with NME, she states that she feels much more comfortable and confident with this label.
Katy still writes with brother Rob, and their teamwork can be found in numerous songs on Return. “Take Back The Radio” and “Tonight” are two tracks that showcase their talents, and the pure, genuine magic they create is undeniable. When they were together as Ardyn, they credited Kate Bush and Kings of Leon as their influences, and some of those elements can be heard throughout the record.
I stumbled upon the 24-year-old through an Instagram post from her label-mates, Working Men’s Club. Her 1970’s-esque album cover instantly caught my eye, and just by the look of it, I knew I had to stop what I was doing to give it a listen. Words are my forte, but I genuinely cannot describe how I felt as each track progressed. Her sound completely stands out in this modern age; she brings forth something new, something exciting, and something enchanting.
I’m a massive fan of Fleetwood Mac, and Katy makes my heart absolutely flutter. Her music has that alluring Fleetwood-flare to it, but it’s still distinctively Katy. She flawlessly calls back to those sounds of the ‘70s while still staying true to herself and her own style.
Usually, I’m able to pick out my favorites very easily after listening to an album in its entirety. This time, however, is different. One moment, I’m set on “Something Real” as my top pick, and the next I’m telling everyone I know that “Waiting For The Day” is one of the most beautiful songs I’ve ever heard. It’s somewhat of a cycle that repeats with every track. One thing I am sure of, though, is that this is one of my favorite releases of the year.
Within a week of Return’s release, it has already been picked as BBC Radio 6’s Album of the Day and Amazing Radio’s Album of the Week. With this in mind, I am so certain that Katy will rack up even more awards and mentions for this record, so this is just the beginning—mark my words!
I wholeheartedly believe that everybody should listen to Return. I cannot stress enough how stunning it is, and considering the fact that this is just her debut as a solo artist, I am so incredibly eager to find out what else the singer’s got up her sleeve.
“What a weekend it’s been,” Katy writes in an Instagram post. “I am so overwhelmed by everyone’s kind words. Having this album out in the world feels truly wonderful.”
When I first discovered Hull’s synth-tastic rockers ‘Low Hummer’ they were named Le Bête Blooms. Since watching their name and lineup change over the years, I’ve been absolutely fascinated by their almost in-between sound of Pulp’s ‘Common People’ and Joy Division’s ‘Isolation’. A complete throwback to 80s and 90s British music, but in the most relevant way for today. Sounds to drag you back and lyrics to push you forward.
Inspired by the likes of Elastica, Pixies, LCD Soundsystem and Talking Heads, and with a tasty vocal dynamic from two lead vocalists Daniel Mawer and Aimée Duncan, Low Hummer deliver this beautiful contrasting sound of angst with snarky delivery, as well as taking the complete lead in some songs and really showing off what they’ve got to offer.
‘Sometimes I Wish (I Was A Different Person)’ is a brilliant commentary on modern consumerism and the way society affects things such as personal states and the way we take in mainstream media, with the band stating that “The song is about how we consume news from screens and the way in which this can detract from our personal relationships and real lives”. Musically it’s just so refreshing, which is weird to say about such a nostalgic sound but it’s such a dead-on specific sound that died with the age of the new millennium.
Take Arms is their latest single and my favourite. This is the track that got me into Low Hummer, or Le Bête Blooms as they were known back then. The fat synth line that carries the song, the fed-up and anger filled message, the devilish duo of male and female vocals and the characteristics of this small and skint northerner band, what’s not to like? The guitars that pick up in the chorus, thick distortion and the almost agitated synth-ish guitar lead that fills in the deeper parts of it, I can’t physically show a chef’s kiss right here but trust me, that’s what this song does to you.
Picture Bliss takes a bit of a different turn to the likes of the tracks I’ve glossed over above, but it’s all within the Low Hummer neighbourhood, a bit more traditionally indie, evoking some of those gorgeous Pixies vibes. You’d be forgiven for thinking this is a sweet romantic coming of age song upon first listen, however as said by Daniel in context to Picture Bliss; “I wrote the song about two strangers who find each other moments before the world self-destructs, they realise how lucky their lives have been, but still feel cheated to have only just met each other moments before the planet collapses. I tend not to write happy songs… but I’d like to think it serves as a nice optimistic song if you don’t bother to read into the subject matter!” However, if you read into the song, it’s clear to me that the band have a natural knack for writing great anthems for the 20th-century kid stuck in a dystopian 21st century now.
I’ll wrap this up with the first single ever released under the name Low Hummer just over a year ago now, ‘Don’t You Ever Sleep’. Lyrically about the modernity of impulse buying, and how everything is marketed as the thing that you need and will change your life! When in reality it’s all just clever advertising. It’s somehow very apt for the quarantined life too. The repeated lines of “We are bored” really helps the narrative of society now and the way we consume things, and as soon as we’re done with that medium, that’s it, and move on. Drawing attention to this sort of issue with passion and anger would normally come off as a bit in your face, but Low Hummer’s attitude, with the combination of their sarcastic and deadpan delivery embedded within their lack of patience and real anger, makes the message come across a lot more subtle than most bands now would convey.
I have no doubt that being a group of people from the north of England helps the anger rooted in the words within the tunes, especially just from looking at the way the north has been treated during the current pandemic. But they use this fusion of moods to create hallowing tunes to get straight into your head, and really pulls off such an interesting and poignant practice for songwriting and getting their message across.
Low Hummer is a band that would have absolutely thrived 30 years ago, yet after all that time, I feel they’re in the right time and the right place to do so now. Maybe a bit of old school is what we need to progress amongst the abundance of vast progression and future thinking. After all, sometimes history needs a repeat in order to learn a lesson. Fundamentally, Low Hummer is a band you should really keep a keen eye on because they’re bound to fly. I for one cannot wait for what the future holds for this band, a real needle in a haystack that’s slowly poking it’s way out for something grand.
Gifted with a velvet voice that will make you swoon, lyricism to rival great literature and a ‘Mystery Girl’ aura that helplessly lures you in, Alexandra Savior is an enigmatic force to be reckoned with.
Not only a talented creative musically, she utilises her artistic capabilities to the full, bringing a personal touch to all elements of her work. Each of her aesthetic music videos that perfectly accompany her chilling tracks is self-directed and she even designs her own album covers and merchandise. Overall, she creates a coherent experience and is certainly proving that she really is a ‘Savior’ to modern female rock.
Born and raised in Portland Oregon as Alexandra Savior McDermott the 25-year-old immediately showed musical promise and received her first wave of attention at the age of just 17 when Courtney Love proclaimed “This girl is gonna be huge!”. Love clearly wasn’t the only one who thought highly of her as the following year a bidding war between labels started; with Columbia Records eventually snapping her up. Upon the deal, Savior moved out to Los Angeles and although she admits that she didn’t feel fully prepared at the time she evidently came into her own as this doesn’t show in her precise work produced out there.
This flourishing development was partly thanks to Arctic Monkeys frontman Alex Turner because fortunately, rather than someone pushing her in the direction of ‘Katy Perry’ like many labels intended she had the modern-day rock icon around to keep her on the right track. A huge supporter from the get-go, Turner first suggested she drop her last name and go by her middle instead, doubling the impact after initially giving the stage name Alexandra Semitone a shot.
In addition to helping her settle on a pseudonym, he also brought his well-known wit and wordplay to the table as a co-writer, as well as joining forces with his frequent collaborator James Ford to produce Savior’s debut record ‘Belladonna of Sadness’. Make no mistake though; this isn’t Alexandra Turner. Savior is one hundred per cent her own artist and had Alex collaborated with anyone other than the rising star an album couldn’t possibly come close.
Dark and brooding, Savior’s first LP was released in 2018 and chills you to your ‘Bones’ with rich, murderous tones but also has a ‘Girlie’ touch from its sweeter melodic notes. Thanks to elements such as her stand-out smokey voice; even backed with faint screams and wicked laughs on tracks like M.T.M.E to spooky organs, thudding drum beats and shredding guitars she creates an eerie cinematic aesthetic reminiscent of glamorous old Hollywood with a desert twist.
Influences she cites seep their way into tracks, with a prominent example being the late great Amy Winehouse whose characteristics are not only present in the soul Savior sings with but also her strong stance and powerful attitude on songs like Shades, as well as Jack White whose essence is felt in the American ‘Rock n Roll’ grit of the bluesy instrumentals. She also takes inspiration from outside the realm of music with comedy legend and filmmaker Terry Gilliam being a creative influence that not only reveals itself in her artsy music videos but also in the lyrical magic delivered by her haunting vocals.
Proving that she can paint a picture in more ways than one, vivid imagery is evoked in all songs with lyrics like ‘Dress me like the front of a casino, push me down another rabbit hole, touch me like I’m gonna turn to gold’ standing out in opening track Mirage. Alongside Turner, she projected her own feelings onto stories and characters, displayed beautifully in Girlie; the analysis of females trying to make it in the industry featuring lines like ‘Until her eyeballs start to bleed, she don’t wanna go to sleep’ and in Mystery Girl’s tale of infidelity singing ‘Hush now, don’t explain. Wound up with a heavier heart, from waiting in the rain’.
Belladonna of Sadness truly provides listeners with a whole world. Even songs that didn’t make the cut such as ‘Miracle Aligner’ now best known for being recorded by Turner and Miles Kane as The Last Shadow Puppets are packed with a punch but the perfect tracks were chosen; all piecing together to create a dark dream that you’ll never want to awaken from.
At the beginning of this year, Savior followed up ‘Belladonna’ with the release of sophomore album ‘The Archer’ and although she found such a distinctive style with her first album, it was exciting to hear that she didn’t play it safe and stick to the same recipe (despite it being devoured by many). Instead, she delivers a heart-break fantasy that hypnotises you into floating along on her fresh journey, with the darker side only creeping in rather than being at the forefront.
An even more personal endeavour that her first, Savior was truly left to her own devices for this record after being dropped from Columbia, her manager quitting and receiving no aid from Alex Turner. None of this held her back though and only resulted in an album that’s soaked in assertive independence and is every bit her own.
Opening with a melancholic piano solo and heartfelt words she embraces the title of the track ‘Soft Currents’ throughout, delivering more vulnerable emotion in songs like this and The Archer. As a whole, it feels more of a woozy, gentle daydream in comparison to the dangerous vibes radiated previously but as mentioned, the darkness lurks. Harkening back to the ‘Belladonna of Sadness’ days are the thick riffs and thumping rhythm of Saving Grace and the suave single Howl with its strong synth and delivery. In addition to this, she further boasts her range by delivering a tune made for the likes of Mad Men with Send Her Back featuring a wonderful big brass intro and even takes you to the seaside with the beach swept Can’t Help Myself.
Although the overall direction is a departure, the key elements that make a Savior track remain. She doesn’t disappoint on effortlessly cool sounds, oozing vocals and of course those lyrics such as ‘The wilted edge of a lonesome mattress, I lay my head there until the feeling passes. It’s sinking in just as time relapses’ that I ‘Can’t Help Myself’ from quoting.
Although she might seem like an impossible ‘Mirage’, Alexandra Savior is as real as ever. So, if you’re looking for some dreamy desert rock, the perfect revenge soundtrack or spooky psychedelic pop then she really is the ‘Saving Grace’ that you’re looking for.
Slacker rock superstar Oscar Lang is back with a brand new track that really nails in the new psychedelic gritty rock combo we were gifted with in Hand Over You Head in September. The cosmic hobo soundscape here completely lifts you out of your shoes, a wall of noise to rock your body till the cows come home. Lang announcing a brand new EP (with ‘Antidote..’ being the title track), was exactly what I needed to hear amongst the misery of the UK’s second lockdown.
The track definitely lives up to its name, after listening to it, I was the complete opposite of bored. Whatever Lang does to mix his music is always astounding and the new track is no exception. Something in the way his voice becomes buried within the instrumentation just blows your mind. ‘Antidote’ has a heavier and more brooding vibe, expelling so much nostalgia for mid-90s rock with such a filthy sound.
Lang said in a recent interview about the upcoming EP “I wanted to get a little darker with this EP but continue with the sound of the previous one. I feel like with the last one I really found a style of music that I love and am just excited to play. So this EP was all about developing that sound further.” And thus the stadium rocker Antidote to Being Bored was born and the EP to follow on December 4th. I think we’re all praying this will be the soundtrack of a post lockdown life, a glimmer of hope to look forward to.
There’s not much I can say aside from the fact it’s an absolute banger, the guy knows how to write a mega tune. I’ve had this song on repeat for about an hour now and my sandwich has gotten cold as I’ve been so immersed in the rapid ecstasy of ‘Antidote’. Just listen to the song, it’s a beautiful thick mess of noise. If you could fuse the sounds of Oasis’ ‘Morning Glory’ with Interpol’s ‘Marauder’ and put them in the Oscar Lang blender, you’d have this masterpiece.
So start adding to your playlists, and check out your local record shop to see where you can pre-order your copy because it’s going to be a stomper you’ll have to own.
‘Antidote to Being Bored’ Tracklist: 1. Antidote to Being Bored 2. That Wasn’t What I Said 3. Pretty Princess 4. Red Cherry Chapstick 5. Something Has Changed
Evoking space-age dreams with their bright bops, The Orielles are a funky fresh band that you absolutely need to be listening to. In fact, scrap that. I’d say the word ‘experiencing’ is far more apt than simply ‘listening’ as their tracks are so engrossing, they’re a vessel for escaping reality…
Taking you on an adventure through the decades they stop off in the bright psychedelic 60s, have a boogie in the 70s and even a cheeky trip to explore 90s acid house, as well as blasting forward into another time and dimension with their futuristic synth sounds.
It’s no wonder that Heavenly Recordings; the same label boasting talent we love from Saint Etienne to Working Men’s Club, have these guys added to their fantastic roster. The Orielles boast the sweetest sounding melodies since Sarah Cracknell and a perfect balance of modern and classic just like WMC, whilst keeping everything uniquely their own; ticking all of the boxes for another Heavenly band destined for greatness.
The group consists of sisters Esmé Dee Hand-Halford on lead vocals/ bass and Sidonie B Hand-Halford on drums alongside friends Alex Stephens on Keys and Henry Carlyle Wade on guitar and backing vocals (providing a deeper undertone to Esmé’s gentle singing approach). Hailing from Yorkshire, they’ve been putting out singles since 2015 which really helped them to gauge direction before releasing debut album ‘Silver Dollar Moment’ in 2018.
Vibrant and charming, their first LP stands out in the sea of standard indie. Their key to doing so appears to be teasing you with that familiar formula we’re so accustomed to hearing but giving it a twist; thus subverting your expectations. Take Sunflower Seeds, for example, kicking off with a strong and cheery riff followed by thumping drum beats, it instantly captures your attention (in a way that almost seems too good to be true). However, it doesn’t stay linear and instead fades into a slow psychedelic squish that bands like Post Animal would be proud of, flipping the happy-go-lucky intro on its head.
They further prove their capability of making their mark on things by not only giving you brit-pop dreams like Mango but also more mellow notes in the laid back Liminal Spaces. As well as this, they also display great lyricism inspired by life, literature and philosophy on their tracks, with an abundance of stand-out lines on Henry’s Pocket. A song about trying to start afresh but being trapped by the past, it features vivid lines like “Trying to eat a moment and regurgitate it back up like you used to. We just hang in a web connecting us to past, present and future”.
Silver Dollar isn’t all that The Orielles have to offer either; displaying a real growth in confidence upon the release of their second album ‘Disco Volador’ put out earlier this year. Although I’d never bore of hearing Esmé’s melodies complimenting their funky sound the bands first record doesn’t quite boast the greatest exploration in tone. However, their follow up puts this point to bed with more variance in the delivery of lyrics and exploding instrumentals. Each track truly comes to life, all effortlessly cool with an airy quality. Further deviating from the mainstream sound produced by many current bands there’s a real retro essence at its core, layered with a forward-thinking distortion to create their own vibrant universe.
The album starts with Come Down On Jupiter, a song starting with a hint of Pulp’s darker records à la ‘This Is Hardcore’ that’s then perfectly juxtaposed by the soft melodies introduced into the mix. Sneakily, they then go on to build the track until you find yourself listening to a pop song that still maintains an edge with strutting guitars and more assertive vocals. Continuing to defy your initial anticipations, Memoirs of Miso’s simple lyrics of ’Falling in love’ float around as you drift away into a technicolour vortex. You’re then caressed by a gentle rhythm and drifting saxophone before it bursts back, bringing you into the room, ready to dance again.
Speaking of dancing, Memoirs certainly isn’t alone as single Bobbi’s Second World is bound to have you on your feet; delivering a groovy strut with its bopping bassline, throwing in some fun backing vocals and a sprinkle of sound effects. It’s a tale of turning a blind eye to reality and getting lost in your own head; something I often find myself doing in general but even more so to The Orielles tracks which are pure fuel for the imagination. Summarising Disco Volador is its own ‘theme’ Space Samba which captures the essence of the whole album; beaming and euphoric with a bit of sass to ensure that you don’t fall too far into the dreams induced.
Not only are the band ahead of their time with their indie evolution, but they also look like they truly have a gift for seeing into the future with the line ‘Isolation, room for creation’ being repeated on Sugar Tastes Like Salt; their single released back in 2017. The song that originally caught my attention, ‘Sugar’ not only predicted our 2020 life but also hits with attitude. Featuring upbeat punches, trippy guitar and sinister beats it’s an 8-minute exploration that showcases their capabilities in producing cosmic soundscapes and is a great introduction to the group.
With every one of The Orielles tunes encapsulating a little bit of celestial magic, I’m more than keen to see what else they have coming our way. Sadly, I don’t appear to have their seeming power to do so but based on merit have great faith that it will be something special, so watch this space.
I have to admit, it’s rare these days that a new band or artist thrusts their way into my consciousness so hard it knocks me off kilter. And believe me, it’s not for lack of searching! I invest a lot of time reading music blogs, listening to friend’s suggestions and throwing myself at the mercy of Spotify suggestions. Searching for that euphoric “fix” of new music that enriches the soul and helps pass the working week. And so it was that I came across the wonderful sound of Mattiel Brown. One mundane day last year was suddenly lit up by a gem in my release radar called “Keep The Change”. The vibraphone-spattered opening bars pricked up my ears, followed by an urgent drum battery that wouldn’t sound out of place behind Levi Stubbs and the lads. Before the vocals even hit I was already signed up, but as soon as Mattiel launched into a saturation drenched “..And just-a-what did I get into here, walking on this floor?”, I knew I’d found something special.
The lo-fi (almost DIY) production and overtones of various classic genres at first tricked me into thinking I’d discovered some obscure classic from the distant past. After all, Mattiel wouldn’t sound out of place sandwiched between The Rezillos and Fabienne DelSol. But there’s something unique going on here too. And so the journey began.
After some Googling I found that Mattiel, or Mattiel Brown to give her full name, hails from Atlanta Georgia, USA and until very recently worked as a graphic designer for spam cannon MailChimp. This was before teaming up with guitarist and co-songwriters Jonah Swilley and Randy Michael, and subsequently catching the ear and endorsement of Jack White. I was shocked and ashamed to discover that “Keep The Change” is actually from Mattiel’s second album “Satis Factory”, and that her eponymous debut some two years earlier had somehow passed me by.
Both albums share Mattiel’s knack for storytelling. There’s an intoxicating blend of humour, irony and vitriol that draws you into Mattiel’s slightly irregular orbit. Check out the bouncy tale of “Baby Brother” or the decline of “Cass Tech” from the first album. And a real stand out track from the second album is Millionaire; “Ever since I got myself this easy chair, might as well be a millionaire” – wordcraft to rival Robert Smith, Mark E Smith or Morrissey in their pomp. But there’s no fat on either record; every song is vital and essential listening, and believe me I’ve listened repeatedly. “Populonia’’, “Blisters”, “Berlin Weekend”, “Long Division” – earworms, the lot of them. And all wrapped in a delicious cloud of Sam Phillips slap-back, Phil Spector spring-reverb and Joe Meek saturation.
Sure, you can hear the eclectic influences that haunt Mattiel’s music, but it would be impossible to pigeonhole her into a genre; and that’s a wonderful thing. All I can say is there’s something different about Mattiel; different in the way that PJ Harvey, Bowie, Nick Cave, Grace Jones and Polly Styrene are all different. She’s just not the same… and that’s why we love her.
For a band consisting of only two people, Her’s certainly knew how to get things moving. Cascades of chorus, bass lines to move mountains and vocals to ground you back to earth and take you far into your dreams all the same, the talent here knew absolutely no bounds. Which is why it was heartbreakingly awful to hear that Stephen Fitzpatrick and Audun Laading along with their tour manager Trevor Engelbrektson were tragically killed in a traffic collision in America whilst travelling to one of their tour dates in March 2019. A band with so much potential and so much love, was taken far too soon, which is why I wish to pay tribute to Her’s and hopefully introduce you to a remarkably wonderful band who’s work deserves to be heard and remembered for years and years.
Her’s formed in 2015 and a year later released ‘Dorothy’ and B-Side ‘What Once Was’, which brilliantly showed off just what they could do. Psychedelic falsetto vocals juxtaposing the baritone range Fitzpatrick had, the jangly guitars taking you straight back to bands like The Cure and Siouxsie and the Banshees, along with the complimentary percussion loops of their drum machine, Dorothy showed not only the capability of Her’s, but also to aspiring young musicians that you don’t need some enormous 5 piece band to write and release your music, but that even limited you could record music AND perform it with only 2 people, which I’d argue has definitely influenced and helped the indie scene today.
Later Her’s released more music that sat in the balance of absolute bombastic bangers and shy intimate whispers. Characterisation was a big part of their work, namely within the lyrics and vocals, almost melodramatic at times, each song and each line felt as if they had their own personified consciousness to guide, as well as writing songs in character allowing Stephen to write about such diverse topics that writing using personal inspiration secludes you from. Take the song ‘Speed Racer’ for example, which tells the story of someone who’s looking for lust in a one night stand, another corker that just makes you feel the need to get up and groove wherever you may be upon listening.
Her’s continued to write and release music throughout the following year and thus released ‘Song’s of Her’s’, a compilation album of all the songs they had written thus far, along with a few new tracks to delight fans. Tracks such as ‘Cool with You’ conveyed lighter sounds, almost lo-fi giving off early Rex Orange County vibes, but all the while being something unique, like taking the surf rock genre and drugging it up on morphine, but also producing tracks such as the before mentioned ‘Speed Racer’, the fast paced glossy rocker that completely blows your socks off. From then on Her’s began to play shows here, there and everywhere, all while working on their debut album, and it was at their live gigs where you really got to see the talent of simplicity and how much an effect they had to their audiences, but also, you got to see just how much fun they had performing, every song had substance, and to see the shared bliss between listener to performer was profound.
In 2018 the dynamic duo geared up to release their debut album ‘Invitation to Her’s’, and once it dropped it was heavenly. Somewhere in the void between dream pop and indie rock, Her’s laid the foundations and left a significant mark on the music scene. Dropping the single ‘Harvey’ with a hilarious music video as if Scooby-Doo met Laurel and Hardy. Invitation to Her’s showed more of Her’s quirky appeal, quality music, good laughs and the theme of Her’s giving this almost episodic feel to their works.
Later the duo released the single ‘Under Wraps’ which showed off a more sombre side to the sound of Her’s. Sonically it felt as if there was something a tad more toned down from the typical Her’s theme, with so much more musical depth in the mix, but all the same just really developing that oh so heavenly sound from their previous releases. It was like Her’s had released the perfect slow dance song for a wedding, however lyrically the song took a more emotional tone, meant to comfort your loved ones who go through changed in their life, Her’s saying it’s a song to offer “reassurance and support”.
And with the actual release of ‘Invitation to Her’s’ we were able to quantify just how good the band of Her’s were, and consume the marvellous mania of their sound. The intense amounts of depth, layered instruments, drum machines blended with live drums, ambient synths and general improved production that gave off an even warmer sound to the band. Tracks like ‘Mannie’s Smile’, ‘Blue Lips’ and ‘If You Know What’s Right’ are just a few of the intense flavours Her’s had to offer this time round. It showed just how good they were at their craft and could bring a tear to your eye as the music transports you to your happy place. Her’s were packed with potential, and they were able to drop off such a phenomenal record that definitely leaves an unprecedented mark on the indie rock and bedroom pop scene. The talent between 2 guys making music and having fun is the pinnacle of modern indie music. Her’s managed to stand out in a crowd, revolutionise the scene in their own way and take things back to a more simpler approach amongst the ambush of 4 or 5 piece bands going far too in depth to try and accomplish the same sound. Her’s was a natural, passion fuelled project that just expressed its own ecstasy wherever they went, with anyone who listened to them.
So I implore you to take a deep breath, set sail on the journey that is your invitation to Her’s, and experience the bliss that is Her’s, and the mark they left on this world that spins ever more so lonely with their passing, but stronger after their influence. And to Stephen Fitzpatrick and Audun Laading, thank you for the music, and for everything.
If there was ever a perfect time for a virtual band to drop an album, of course it’d be in 2020. Thankfully despite the hard times thousands of musicians have had to face this year, we’ve had plenty of new music to consume and I’m sure we’ll have much more to come thanks to the isolation and ‘free’ time this year has given us.
I’ve always been a passive fan of Gorillaz, and a deep admirer of Damon Albarn. I grew up in a very Oasis household with much of Blur’s deeper cuts never getting a mention in my childhood apart from the main big singles. But when my brother got a copy of Demon Days on his portable CD player back in 2006, hearing Feel Good Inc. for the first time, I was enchanted by the talent Albarn had, making me seek out in my late teens so much more of his work. Gorillaz last 2 albums Humanz and The Now Now, I really admired the work that had gone into them, and really dug a good few tracks from both, but I didn’t catch myself sinking into the sofa the way I did with Demon Days almost 15 years ago, which is a shame but perhaps I just wasn’t mentally mature enough to appreciate it properly. But with all this in mind, not even really paying much attention to the buildup to the release of this new record from Gorillaz, the drop of it made me really take a moment to genuinely take in all of what Damon Albarn and artist Jamie Hewlett had to offer this time round.
Gorillaz this time around have set out to change the meaning of the classic album. All throughout the promotion for this LP has been the labelling of each track being an “Episode”, and the album being called “Season One”. People consume music differently now to 2010, or even 1990. Genres and styles being more like parks you can stroll into whenever you please as opposed to strict labelled and rulebooked formats, and Song Machine: Strange Timez pushes that idea forward more than ever before. The last effort from Gorillaz strayed further away from artist features, whereas Strange Timez is a collaborative powerhouse. Damon really solidified himself as a producer similar to the work of Calvin Harris, Mark Ronson or Josh Homme’s Desert Sessions. Not that there was ever any doubt of Albarn’s producing work, but this record really puts that motion forward in a more prevalent way due to the nature of the featured artists throughout the album. Speaking of featured artists, Damon really pulled out all the stops for this, with features from Robert Smith, Elton John, Skepta, Tony Allen, Slowthai, Slaves, Unknown Mortal Orchestra, Georgia, Peter Hook, Beck and St Vincent – and that’s not even everyone! So the talent flowing through Song Machine’s veins is completely clear.
What brilliantly works is the soundscape of the entire project. When incorporating so many different artists it can often come together quite patchy as different artists have different inspiration, but here Damon works with his fellow contemporaries to ensure each one isn’t out of their comfort zones performing in a way that isn’t natural to them, but all the same wrapping each track in the smooth chilled out production that makes this album so Gorillaz. It all blends together in such a brilliant way, nothing and nobody is shoehorned in, every line and feature has a reason to be there and it makes out for such a cool listening experience, with Damon’s voice as the final ribbon tying each track together splendidly.
Title track Strange Timez featuring Robert Smith is a fantastic start, firstly it’s Robert Smith, hearing his voice on anything new these days is already a recipe for success, but the vocal wails and almost demonic sounding harmonies combined with the plonky piano keys and thin synth bass create this heightened feeling of uncertainty to match the idea of stranger times. The chorus on this also is just brilliant to dance to, and with Damon Albarn’s classic megaphone/radio filtered vocals just completely smashing it. The Valley Of The Pagans featuring Beck is a shiny modern disco bonanza. With Yamaha synths that sound as if they come straight out of a Sega Mega Drive game, collided with Beck’s vocals that sound almost like his earlier work from the 90s but definitely moulded to a more modern made performance. The Lost Chord with guest artist Leee John is a nice less hectic more tranquil track that makes you want to go for a drive at 2am on the empty motorways, absolute bliss and Leee John’s vocals are just luscious to listen to.
Pac-Man featuring ScHoolboy Q kicks off with a Bruce almighty sounding “alrighty” as the funky fat synth line lifts this track into an alternate reality Snoop Dogg instrumental, with ScHoolboy’s verse flowing so well with the lucid production that this whole album is jam-packed with. Chalk Tablet Towers with St. Vincent shows off some nice modern pop techniques, the synth and vocal effects emote a Drake style performance which works quite nicely. St. Vincent’s vocals backing up Damon’s mix delightfully well giving this larger choir effect even though it’s just the two of them singing together. The Pink Phantom is an interesting track, guest starring Elton John and 6LACK, the chill hop production matches the expected style of Damon and 6LACK’s verses, but when Elton John starts singing, it takes you back for a moment, something so odd that goes against expectations, yet sounding quite smooth regardless, as if Elton’s singing from an empty kitchen, which again adds to the laid back production of the album.
Aries featuring BRIT School alumni Georgia and Peter Hook from Joy Division and New Order, is a really nice slightly out of place slice of cake in the hipster coffee shop that is Song Machine. Sounding essentially like what a modern New Order song should sound like, the iconic high up the neck chorus infected bass performance from Hooky is delicious, evoking such nostalgia for New Order’s Power, Corruptions and Lies, and Georgia’s drumming motifs compliment Hook’s bass performance almost annoyingly well, it’s a power duo that makes you think, why haven’t we done that before? But it all gets interwoven within the consciousness of Song Machine so well, it’s a sound that fits the album really well, but being such a specific sound it demands to be noticed, and really for damn good reason. Friday 13th with French-British rapper Octavian is a song that takes you to cloud 9, with ska-ish guitar and reggae trumpets that really add a flair of summery vibes, and also bringing some more Peter Hook influenced bass playing in the background of the mix that helps ground this album to connection and a consistent progression of sound that as someone who’s ecstatic when an album feels like an album where things were planned and imagined in mind in context with the tracks it shares a small universe with, really released the serotonin in my head when listening to the album for the first time.
The final three tracks on the standard edition (yes there is an extended deluxe edition just in case the 11 tracks don’t fill your cup) of this album or season as Gorillaz are branding Song Machine: Strange Timez, nicely tie everything together. Dead Butterflies has a wonderful piano sound, hearing Damon say in the studio at the start “can we just loop that last piano part, little bit”. Featuring vocals from Roxani Arias and Kano, encapsulating this trio of perspectives from different backgrounds and cultures that clash and combine like a dance between man and fire, a trait that’s to be said for all 3 of these last tracks. Désolé is a wonderfully evocative track with some of my favourite production and songwriting on the entire project, the bass groove, soft funkish guitar, the silky jazz inspired piano that carries throughout the song, the breakdown that brings strings into the mix flipping the genre’s embedded within the song already on its head, all combined with the beautiful African percussion instrumentation, all set in place for the astonishing vocal performance from Fatoumata Diawara. Désolé is one of those rare pieces of art that makes you put everything aside to just take in just what it has to offer.
The closing track was the first single we were treated to at the start of this year, Momentary Bliss with Slaves and slowthai. Ending the album on a high with a bang. The slap of punk, punk-rap and the Song Machine sound continue to be a thrash of sounds that all come together in a harmonious way, evoking classic Gorillaz vibes, tarnished by the modern sound of Song Machine in such a beefy and delightful way.
There’s definitely a sonic contradiction all throughout this album. Firstly with the original intention of it not being an album, just a bunch of released songs, which swifty changed over time, the fact that songs later in production had to be recorded with social distancing and other covid precautions, to the fact that this album has quite a heavy emphasis on the chill lo-fi sound design whilst also having giant household names feature all over the album, and having so many different levels of inspiration and genre, it gives it this strange contained perception, it definitely feels like a lockdown album and definitely benefits from that. Song Machine: Season One, Strange Timez is the perfect analogy of what a modern record should be, and it wasn’t even trying to be that in the slightest. It demonstrates the focused ability and talent of Damon Albarn and company, and shows just what people can do during periods of quarantine, uncertainty and the lack of constant information and inspiration. It shows the power of what happens when people work together and manages to convey an escape from the strange times we’re all going through right now.
Listen to Song Machine, Season One: Strange Timez on Spotify now.
