Category: Pop/Indie Pop

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Indie/Indie Rock New Wave Pop/Indie Pop Uncategorized

Looking Back: I like it when you sleep, for you are so beautiful yet so unaware of it

Five years ago The 1975 dropped their monumental album I like it when you sleep, for you are so beautiful yet so unaware of it, or as I’ll be referring to it (because effort gah) as ILIWYS. If you thought the 80s vibes couldn’t be topped after their self-titled debut, “aha, you are dead wrong”. The 1975 are a band with so much more to offer than your typical indie-pop band, delivering an entire era defined by it’s words and art, to the point of their live shows encapsulating the entirety of their songs personalities, The 1975 are a statement to the word ‘Artist’. I think it’s an underappreciated art to produce an album, make it go in various musical directions but seamlessly tie it all together and create a genuine universe for all its songs to coexist. But here proves that its all possible, and is utterly majestic when that happens. So as a brief inquiry (aha – nice right?) into the realm of ILIWYS, I hope you can look back on this album with me and appreciate the ingenuity that makes this record so bloody great.

After two years of so much identity with a black and white aesthetic, what better way to revitalise your sonic vision than with the bombastic colour of pink and the intro that is Love Me. A song that takes your hands and dances with your bones like a piss up that snogs you when you sit back down. Leading straight into the 80s drooling UGH! which delves into the topics of addiction, something frontman Matty Healy has been more than open about over the years. The music video based upon the incredible live show set, designed by Tobias Rylander which just has to be mentioned because it is enriched in beauty.

Then changing the pace the album goes into A Change Of Heart, a slow ballad that swoons you to sway during the comedown of a party. A pretty coloured song that blinds the facade of a story about two people falling out of love with each other. The 1975 have a knack for writing tear-jerking relatable hits, curse you Matty with your big words giving me the biggest feels. She’s American blasts in next, a personal highlight of 80s pop perfection, the synth bassline, the Johnny Marr / shoegaze-like hybrid guitars that caress you into a dream, goodness me that song makes me feel things on an inhuman level.

If I Believe You is a fan favourite that takes off next (although I have no idea why I say fan favourite as if other tracks aren’t faves also) a waltz that opens up a conversation between Healy and God, begging the question; “And if I believe you will that make it stop”, questioning Healy’s lack of faith and desire to have something to believe in, during a period of uncertainty, proclaiming “I’ll be your child if you insist, I mean if it was you that made my body you probably shouldn’t have made me atheist” Please Be Naked accompanies us next, an instrumental track that whispers in your ear so much with so little. A piano-led track that drowns you in the sweet sorrow of this little album I love.

Lostmyhead and The Ballad Of Me And My Brain drift into your ears, starting with a track with a lyric that quotes back to a song off the band’s debut EP. “Then he said I lost my head / Can you see it?” With that calmic haze being stripped away for a loud angry tantrum about the disconnection between Healy and his mind. It’s the subtle transition between the frail state of mind (ha reference) Healy has to deal with that makes this pairing so devastatingly divine.

Somebody Else, arguably the bands most popular tune is a slow ballad about the pain of moving on after a relationship and it’s hauntingly sad. The line “I don’t want your body but I hate to think about you with somebody else” is so simple yet so resoundingly relevant within so many of our lives. Somebody Else creates an involuntary emotional attachment to you and because of that makes it one that you can’t get out of your head.

It disapparates into Loving Someone, which has become an LGBTQ anthem. Delving in the topics of how disenfranchised the population is and the systematic homophobia within that.

“It’s better if we keep them perplexed,

It’s better if we make them want the opposite sex”

Which all leads to a Healy delivering a spoken-word piece to end the song that just pauses for thought but demands to be heard. With the backing music continuing with thumping bass and twinkling synths, drummer and producer George Daniels is a genius and the talent he shreds throughout this album is nothing shy of blessing upon the music scene. The almost instrumental ambient synth-scape title track of (okay I’ll do it just this once – deep breath) I like it when you sleep, for you are so beautiful yet so unaware of it injects a pure sense of vulnerability here, and if the work of Daniels and co haven’t impressed you yet then this surely shall, and the standalone lyric of “Before you go, turn the big light off” just gives me chills it’s beautiful… yET sO uNAWARE oF iT!!

Jokes aside, the albums biggest radio hit comes on in the form of The Sound that really bops with you no matter where you are. That hook of “I know when you’re around cause I know the sound of your heart” being tattooed on people all over, reposted all over Tumblr and such, covered to death but purely because it’s such a danceable and sing-a-long track. It’s music video flashes on screen with quotes of harsh remarks on the band from critics and such, many of whom now absolutely love the band so I don’t know what that says about media pandering.. But it’s a great song with a great video, check it out if you haven’t. The 1975 is a band that’s very self aware, it knows when to take itself seriously and when not to and I think this video is a brilliant example of that.

My favourite track on the album succeeds that one, This Must Be My Dream being this 80s pop powerhouse that screams in your face, god I just love it so much. Although it doesn’t get played very often, Healy once stating he didn’t like the song because it was so hard to sing. But I mean this was before the days of Love It If We Made It and People, so what gives Matty? But the cute Paris succeeds my favourite track, and this is another one of my faves, another fan fave and recently (well as recent as the last time they were on tour – yikes) revealed to be Healy’s favourite of the album, which is a very valid statement as the song is wonderful.

I give you that acoustic rendition because one, it’s stunning, two, it doesn’t get enough recognition and three, the next 2 tracks on the album take a more acoustic approach, completely bookending the last part of the album. Nana and She Lays Down close the album on possibly some of the most personal lyrics Healy has penned down. Nana about the way Healy deals with the then-recent passing of his Grandmother, and She Lays Down about the postnatal depression his mother had just after having Healy. Two incredibly personal tracks that expose the innards of Healy’s brain even more so than some of the other deeper cuts of this album. I shan’t quote from either as I think it’s best to listen to those songs fully to respect and appreciate the messages of each, but trust my they are witheringly pulchritudinous.

ILIWYS ends there, going through various sounds and heaps of emotion and is just such a phenomenal album. One of my favourite records of all time that I know I’ll cherish till the day I die, as will so many others. ILIWYS defines a generation of woe, lust, highs and downfalls that embedded within the DNA of Healy and The 1975, manages to enchant their audience in such a way that has never really been done before. The 1975’s fanbase is something different let me tell you that, but it’s a wonderful community I’m proud to be a part of. There’s a quality of emotional imperfection that ILIWYS narrates which touches a generation of music fans. From only 5 years, the impact it’s had is immeasurable, and I really believe will keep inspiring kids for years to come.

Happy Birthday, ILYWYS.

Listen to I like it when you sleep, for you are so beautiful yet so unaware of it on Spotify now.

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Indie/Indie Rock Pop/Indie Pop Reviews

Review: Pale Waves – Who Am I?

A lot has happened in the time since Pale Waves released their first album. Despite the various trials and tribulations, one of which including a tour bus crash, the Manchester indie-rockers have proven that nothing can get in the way of creating absolute magic. Consisting of 11 tracks, Who Am I? taps into the beloved, nostalgic sounds of the 2000s, and going through each song helped me feel more like the ideal, cool older sister trope commonly found in movies of that era (Kat Stratford, anybody?). 

In comparison to 2018’s My Mind Makes Noises, their sophomore album presents a newfound edge that helps listeners unearth a more authentic version of Pale Waves. Now, don’t get me wrong; I absolutely adored their debut record, but it only scratched the surface of what they have to offer. That being said, it’s undeniable that they have begun to grow more into their own, unique sound, and my god, it is completely game-changing. 

I honestly wasn’t expecting this sort of switch-up at all. From the moment they released “Change,” however, I knew we were about to witness a brand new, monumental chapter in their career unfold. With a catchy track and a visually stunning music video to match, it makes perfect sense why this is the way Pale Waves decided to kick off this new era.

Who Am I?’s dizzyingly romantic second single, “She’s My Religion,” brings forth some much-needed LGBTQ+ representation, and it sure as hell doesn’t stop there. “Tomorrow” beckons those who are struggling with their sexualities to take a deep breath and remember, as the lyrics emphasize, you cannot choose who you fall in love with. Not only that, but it also encourages fans who are grappling with their mental health to stick around and see that the world won’t always have you feeling trapped. It’s a truly gorgeous song that wields an impactful message we all need to be reminded of every once in a while.

Ben, I know that you love a boy

Sexuality isn’t a choice

Don’t let anyone say it’s wrong

Won’t you just keep hanging on?

And Kelsi, I know life drags you down

Growing up in a small town

Always the odd one in the crowd

You know I’ll never count you out

This sort of vulnerability seen throughout the record is perhaps one of its most striking features. There’s been a distinct progression in songwriting that opens up more personal discussions, ranging from the intimacy of sex and queer romance (“Wish U Were Here”) to the ever-looming uncertainty that comes with reaching a mental and emotional low (“Who Am I?”). Seeing this newfangled sense of self from lead singer Heather Baron-Gracie, as well as the unapologetic comfortability that has come along with it, is incredibly refreshing. It introduces something notably special into their music, and the novel openness and sincerity found throughout this record have put them on track towards becoming a force to be reckoned with.

In short, Who Am I? is a wildly impressive sophomore album. Honest and bold, this record uncovers a new side of Pale Waves that marks a significant turning point for the band. Every track offers a different story that listeners can relate to and appreciate, and they all form a wonderfully cohesive collection of songs without sounding same-y or repetitive. This could very well become a defining record for Pale Waves, and I’m eager to see how well it treats them.

Listen to Who Am I? on Spotify.

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Indie/Indie Rock New Wave Pop/Indie Pop Why We Love

Why We Love: Dan Haggis

Yeah okay, I did plan on just doing a review of Haggis’ latest solo album Brightly Coloured Creatures but truth is, I couldn’t with a healthy conscience ignore the other work that he’s strived to make. Now I’ve written a review of his solo album Circadian Circus which if you missed you should definitely check that out, but I think (especially right now) with the state of the world and how disproportionately it’s affected the livelihoods of musicians, I think it’s only right to share with you even more of Haggis’ work, give him the rightly deserved streams he deserves. So to focus on Sunship Balloon’s Everywhen (his 2020 album with Tord Øverland Knudsen) and of course his very recent follow up to his 2017 solo album, here’s why we love Dan Haggis.

Obviously, anyone who’s anyone has heard of The Wombats, and if you’re someone with taste you’ll know the absolute passion that goes into making those albums and how brilliant they are, but when it comes to making music outside of that well-established name, Dan gets even more of a chance to show off his skills. Whether you’re falling in love with his solo work for something painfully relatable to, or getting an escape through the space journey of Sunship Balloon, there is absolutely everything to fall in love with.

With 2020’s Everywhen, Haggis and Knudsen created an album full of futuristic sounds coincided with analogue 80s synths, all which whisk you away into an alternate reality to ponder life’s most curious questions. When I first listened to Everywhen I immediately felt some sort of instrumental connection to like likes of The 1975, but even more so to the legendary Brian Eno, the ambient instrumental tracks especially that just change your perspective of the world, sounding like they could have been taken straight off one of David Bowie’s Berlin trilogy records or an album like Eno and Robert Fripp’s No Pussyfooting. It just makes for such a surreal listening experience (a crime that it’s not available on vinyl really) and you can just really hear the fun that went into making this record.

The entire album is perfect, there are so many amazing tracks to choose, from the electronic rock blaster that is Interstellar Ride, 1224 Fantasia which just desires to be played on a show like Top Of The Pops back in 1985, to the more experimental Eno inspired tracks such as title track Everywhen and the albums closer Flat Earther’s that really does sound like it belongs with the likes of Neuköln on Bowie’s Heroes. The energetic anthem A4 Life is superb though, it’s here where you can really hear some of those familiar Wombats and even some of Knudsen’s other band Imitating Aeroplanes vibes (I mean why wouldn’t you), but all the same completely turned on their heads to create a sound that’s so presently fresh but heartwarmingly nostalgic.

Glossing over Sunship Balloon and now moving to Brightly Coloured Creatures, after working on Everywhen, Dan The Man’s third solo outing definitely takes some of those 80’s sounds and finds a wonderful home within his new music. Circadian Circus was a brilliant album, but Brightly Coloured Creatures is completely its successor. Everything that was brilliant about the 2017 venture has been put on steroids and increased tenfold. The songwriting, melodies and production have all stepped up and each track is uniquely warm. Thematically it does continue a lot of similar themes that of Circadian Circus, but perhaps a little more universal than the depth into Haggis’ soul that we were exposed to with the last album.

Muscle Memory kicks off the album in such a flawless way, being ever so reminiscent of his previous release, but with bigger everything. Genuinely feels like it’s the opening track to a film, it gives meaning to whatever you could be doing when listening to it, making a cuppa? That cuppa’s DEEP now. Young Lovers the albums second track and first single is where you can really hear how much musical progression Haggis has developed since 2017, sounding more like the kind of track you’d hear off Everywhen but because of that oh so personal touch Haggis effortlessly shines over his lyrics, you know exactly where this track truly belongs.

This album, like its brother, is absolutely perfect and every track is a real gem. From blissful melancholy meanders like Obsolete and Earthmover, which are such beautifully constructed tracks, and the line “Can we just go back and reset it all, Now we’re obsolete” is just *chef kiss*, who hasn’t felt like that at some point? And especially after the year we’ve just been through (yeah happy anniversary to that by the way) it’s such a poignant practice that Haggis just nails every time. It sounds like something you’d find on a Beach House record and is absolutely gorgeous, not to mention the breakdown in Obsolete, which is fantastic. Shaping this woeful helplessness into offset anger mixed with motivation, drenching the line “Swallow the pill” in reverb the way some use medication to put a damper on depression, man Haggis you absolute genius.

See You In Hell is such a tasty track, coming out of nowhere as this almost doo-wop inspired song, albeit with a lot of other influences clearly thrown in the mix, it’s a faster, more energetic and textured sound, evoking vibes of Richard Hawley‘s work and Arctic Monkey’s Suck It And See album. Just magnificent.

Another one of my personal favourites, Unravelling combines so much sonic identity it’s hard to pin it down, but I mean it sounds like Dan The Man so what more could you want? The combined acoustic and spacey lead guitar, and as always Haggis’ vocals are simply a delight here. Lyrically the tracks about DNA, which with the “unravelling” hook makes a lot of sense, but I think the substance behind that goes way beyond where your mind initially registers with it. I think there have been times where we’ve all felt like our very being is “unravelling”, stuck in the fragmentation of crisis and rebirth, along with the prospect of the unknown, and I think this song defines those feelings. I mean it’s either that or it’s a song about DNA but take your pick.

Brightly Coloured Creatures is already one of my favourite records of the year, and we’re only in February. That’s not me being ignorant in the face of what an entire year’s worth of music might bring to my attention, but a statement that Dan Haggis is one of the brightest musicians of our time and I think that goes without saying. Tracks like Memory Lane, Let Me Down and Obsolete are just streamlined perfection and you absolutely must go and listen to the whole album as soon as you can.

I’ll leave you with Peter Pan, a track off Dan’s first solo album which is equally brilliant as both the albums we’ve been over today. Enjoy its festive vibe and take aboard the backlog of music you’ve now got to bathe in. For fan’s of Dan The Man, the music’s going nowhere, and there’s plenty to go around.

Check out Sunship Balloon’s discography here,

And check the rest of Dan’s solo work here.

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Indie/Indie Rock Pop/Indie Pop Why We Love

Why We Love: Teleman

Teleman is one of the coolest bands I’ve discovered in a very long time, there’s something just so intrinsically interesting about them. Formed back in 2011 after the disbanding of the band Pete and the Pirates, where bandmates Thomas and Johnny Sanders, Peter Cattermoul and new drummer Hiro Amamiya combined forces to become one of the most innovative artists of our time.

There’s a quality to Teleman that’s so ’70s and so modern at the same time that’s just irresistible, that being said if you’re a fan of bands such as Arcade Fire, Metronomy and New Order then Teleman should be the next band on your list of artists who’ll rearrange your perspective on music. Upon releasing 2014’s Breakfast, the band have toured with the likes of Suede, Kaiser Chiefs as well as Belle and Sebastian just to name a few.

With Cristina, the band’s debut single, you get a vibe for who Teleman are. That mix of synth and indie guitar carrying this hefty song through your ears, tied together by the diverse and tender sounding vocals of Thomas Sanders. Indie pop is such a broad genre that normally gets buttered up, but with Teleman there’s a mix of rawer energy within their music that enforces such a focused identity that’s so particularly them.

Meanwhile, they’ve certainly figured out who they are and where to go next, take their latest album Family Of Aliens, and according to the band was a more involved writing process between them, which clearly worked for the best because Family Of Aliens is a brilliant album and one of my highlights of 2018, with some of their strongest work to date. The track Cactus brings that characteristic charm Teleman, edging on the airwaves of alluring yet hypnotic. It’s a development of sound that’s clear when you hear their albums back to back, but it’s superbly familiar.

Going back one album to Brilliant Sanity, the opening track Düsseldorf with its slick performance races to pump adrenaline throughout your body. There’s a time and a place for “ah just play harder, turn the amps up” for showing the power of a performance, but Teleman manages to know exactly how to level their sound. The guitars aren’t in your face, they’re not Boss Metal Zone’d, instead they’re driven just enough to add the right amount of bite and attitude, and what this means is the song hypes you up and you feel the weight of it hit you, despite it being a calmer soundscape. It’s a power that’s truly unique and not many artists quite figure it out so it makes for such an impactful listening experience.

Skeleton Dance from the band’s debut album starts with such an exhilarating intro, those loose and jangly guitars that almost spit out at you, the saturation of that riff on the threshold against the velvety vocals that carry the song is just so tranquillizing. And then with the combination of thick synths, drum machines and a live kit, just swirls around your brain in such a manner you do disconnect from the world for three and a half minutes.

Between The Rain is one of the more ’70s sounding tracks, but mastered to your modern-day specs. The piano-centric song complimented by the twangy driven guitar solo emoting the sounds you’d hear on an early Bowie record like Hunky Dory. It’s also got one of my favourite lines being;

“Good times always end if you sing too soon
Oh, how I love the silence when I’m with you”

Something about that simplicity and realism along with the bouncy vibe of the track just matches so well.

So with all that in mind… What are you still doing here? You’ve heard what Teleman can do, and you’ve barely scratched the surface. Revitalise that pure indie-pop sensation of the early 2010s and process the power that lies ahead with whatever Teleman dare to bring out next.

Stream Teleman’s discography on Spotify here.

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Indie/Indie Rock Pop/Indie Pop Reviews

Review: Weezer – OK Human

OK Human, the brand new album by LA rockers Weezer, has shaken up everything the band has put out in the last half-decade alone. Jumping ship from genre to genre, Weezer are no strangers to releasing heaps of fresh music year after year, perhaps the sad reality of how hard it is to make a living being a musician, or perhaps because they’re just that inspired, which after being a band for almost 3 decades now (God really? Time flies huh) is pretty impressive, like all the material they’ve put out or not, it can’t be easy, but that being said must be very rewarding. 

After the 2019 announcement of the album Van Weezer, inspired by the likes of hard and glam rock icons such as the late Eddie Van Halen, which was due out in 2020 and is now due to that thing that’s kinda buggered up the world, due out late spring this year, the band dropped a surprise album at the end of January that is the complete opposite of what Van Weezer is said to offer us. With a centre on less guitars and more orchestral sounds. So what can you expect from an album like this? Well that sharp modern pop production that was all over the likes of the black and white albums, but that baroque rock/orchestral pop centre creates something so naturalistic that I think we all kind of needed at a time like this. 

Although the writing sessions for what became this album started as early as 2017, the themes of isolation are very apparent and it’s classical influences really enforce that. After the year of the pandemic, and to be quite frank everything kinda shitty the world has endured over the last few years, this drawn back approach is rather magnificent. I can only really compare the sounds of this album to vague Beatles-esk noise or something like Panic! At The Disco’s Pretty. Odd. But even that isn’t quite right. This definitely sounds like a Weezer album and after the cold water shock of hearing track one All My Favourite Songs, it all sounds perfectly natural for the band so it’s a strange sensation but does make sense. 

The album has a really good sense of momentum, tracks flow and transition well into each other. The transition between Aloo Gobi into Grapes of Wrath is ridiculously sharp and tasty. I think after the somewhat rocky consistency of Weezer through the past few years, being a bit wild with sounds is just their thing now, and whilst I was really digging the vibe of singles teased from Van Weezer, OK Human’s big orchestral cavern is brilliant all the same. As a more casual fan of Weezer, I would easily say this is actually some of their best work, whether you’re a fan of the sounds of the Blue album, Pinkerton or even their more recent Black album, I think you’ll easily enjoy what this album has to offer. There really is something for everyone here, without pandering to different genres as it is all tied up very nicely within its theme. 

There is certainly key themes of alienation and a highlight on the modernity of humanity, be it the obsession of staring at our Screens or digitalised statistics in Numbers, whilst it can be a tad on the nose, I think generally along with the musical concept of the album sounding like a Disney movie’s soundtrack, and especially during a time that is our very uncertain present, it works well for what it is, and might even be looked back on and praised for it’s early (if we can even call it early at this point) warning signs of the surge of technology and reliability upon it. I think having 2 albums within the span of a few months is one thing to keep your fans happy, but to have two completely contrasting sounding albums such as OK Human and Van Weezer in the pipeline is a bold move but somehow I think completely works and really there’s no better time for it. I just feel sorry for the poor blighter who has to figure out their next setlist… 

Top tracks are; Grape Of Wrath, Numbers and Bird With A Broken Wing. But again I’d stress to hear the whole album all the way through to get the most visceral experience of OK Human. 

Stream the album here on Spotify.

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New Wave Pop/Indie Pop Reviews

Review: VIDEOCLUB – Euphories

If you haven’t already been introduced to the playful, 80s-inspired music of French duo VIDEOCLUB, let this be your guide. Adèle Castillon and Matthieu Reynaud are undeniably one of the coolest power couples out there, and after officially releasing music since 2018, their highly-anticipated debut album Euphories was gifted to the world on 29 January. 

Featuring pre-released tracks from over the past few years along with plenty of brand new additions, Euphories serves as the perfect introduction to the young musicians. Throughout the album, you’ll discover wondrous, lively energy that invites you to set your responsibilities aside, just for a moment, and let yourself have some well-deserved fun. 

There’s something incredibly enchanting about this record. I have been a fan of VIDEOCLUB for quite some time now, so hearing the singles I’ve been playing on repeat be finally compiled into a full-length album is something truly special. It was well worth the wait, too, because it’s undeniable that Adèle and Matthieu put their heart and soul into Euphories. Each song seamlessly leads into the next, creating an excitingly hypnotic record that once you start, you’ll want to stick around until the end. 

The first song I had ever heard from VIDEOCLUB was “Amour Plastique,” which now has an impressive 58M views on YouTube. So, seeing that they kicked off their album with this track made me feel an immense amount of pride. It’s what thwarted them onto people’s radars, and because of everyone’s massive love and support for “Amour Plastique,” Adèle and Matthieu have been given a fantastic opportunity to continue sharing their talents with the world. They certainly have not dropped the ball as every release since then has been widely well-received. With these new songs hitting airwaves, I have no doubt in my mind that their fanbase will consistently grow more each and every day. 

One of my absolute favourite new tracks is “Polaroïds.” I adore how they utilize the distinct sounds of a Polaroid camera within the beat; it adds a unique and clever touch that makes the song all the more charming. The lyrics, which reminisce on cherished memories, are really refreshing as well, and they can definitely be relatable in times like these. All of these elements combined create something that feels like pure bliss manifested within a single song (as well as a phenomenal addition to any sort of “Late Night Drives” playlist).

“SMS” is another song I am completely obsessed with. The beginning of the song sounds like an explosion of real, genuine happiness, and I can’t help but smile whenever it comes on. I’m a bit of a hopeless romantic, so when I read the translated lyrics (I’m still learning French, leave me be!), I was smiling like such an idiot. It represents love in a fun, wholesome light and emphasizes the excitement behind new love unfolding. Towards the end of the track, you can even hear the synth riffs from “En Nuit,” “Amour Plastique,” “Mai,” “Enfance 80,” “Roi,” and “What Are You So Afraid Of,” which wraps up their debut record flawlessly. 

As a whole, I have fallen completely in love with Euphories. There’s a song that can match whatever mood you may be in—hear me out. In the mood to relax and shut out the world for a bit? “Trois Jours.” Need something to listen to while you’re out-and-about that’ll help you feel like the main character? “Suricate.” Don’t speak a word of French but you still want to sing along? Don’t worry, “What Are You So Afraid Of” and “Petit Monde” have got you covered with some English lyrics.

There’s truly something for everybody throughout this tracklist, and my joy goes far beyond anything words could express. Adèle and Matthieu have absolutely smashed it with Euphories, and I cannot wait to see what else they’ve got up their sleeves. 


To keep up with VIDEOCLUB, follow them on Instagram and Twitter.

Categories
Indie/Indie Rock Pop/Indie Pop Reviews Soul/R&B

Review: Arlo Parks – Collapsed In Sunbeams

The long-awaited debut album Collapsed In Sunbeams by the indie icon Arlo Parks has finally arrived! And it’s definitely a contender for album of the year already. As a black bisexual woman in an already oversaturated music industry, it is so refreshing and rewarding to see the success that Arlo Parks has gained since her music debut in 2018, becoming a contemporary to the likes of Phoebe Bridgers and Clairo, but a superstar in her own right.

The album kicks off with an arpeggiated acoustic guitar and lofi ambient sounds underneath a poem by Parks, setting up the journey that by track 3 has already taken you all around town. Hurt puts the car into first gear, a great opener demonstrating those sounds we’ve become familiar with from singles like Green Eyes and Eugene. The use of sampled and chopped drums gives the track this slightly agitated feeling that goes in hand with the themes of Parks’ lyrics. Track 3 Too Good shakes up the vibes so soon with Motown inspiration through jazz and funk-infused guitar, really encapsulating sounds of the ’60s but wrapping it in layers of modern production. Arlo Parks already has smashed her sound out the ballpark, completely developing her ability to write and perform since her EP Super Sad Generation.

Hope sidesteps more towards that Jazzier inspired sound, really making me nostalgic for the iconic instrumentation of Amy Winehouse. It keeps up the pace and I think it’s here where it’s safe to say that Arlo’s control and flow of melodies are absolutely breathtaking. Each line she sings is just monumental, no line feels lacking or overfilled with words and syllables, she’s a natural storyteller. And every chorus she sings is an instant hit, I mean just in Hope the way she carries the lines “You’re not alone like you think you are / We all have scars, I know it’s hard / You’re not alone” just really pulls at the heartstrings. She’s open and honest and it makes for the best of her music.

Caroline and Black Dog, two tracks released in the buildup to the album take up your ears next. Caroline being one of the songs that carry the general DNA of this album, the production it’s laced with is a reoccurring sound within such a musically diverse album. Written about witnessing events unfold without context which is something we see on a daily basis (well, we usually would) where it does become something we don’t give too much attention to.

Black Dog is a more stripped back stylised song, Parks addressed the song saying “it’s supposed to make people who are struggling feel less isolated and start a conversation surrounding the prevalence of mental health issues in today’s world”. Especially after the toll that’s taken the people of the world over the last year alone, Black Dog becomes a statement about the obvious on how bitter the reality of depression is and how you can feel out of your depth whether you’re on the receiving end of the Black Dog or whether you’re observing someone who has that demon in their life.

“It’s so cruel what your mind can do for no reason / I take a jump off the fire escape to make the black dog go away
At least I know that you are trying / But that’s what makes it terrifying“

Green Eyes is such a ridiculous song. It’s just perfect what can I say? (That’s rhetorical) Here Parks tells the story of a past relationship with a girl that ended too soon because of the stigma of same-sex relationships from their own parents. I think although there are specific topics all throughout this record, there are some messages within that are completely universal such as the chorus’ hook “Some of these folks wanna make you cry / But you gotta trust how you feel inside and shine” it’s painfully true and such an uplifting message to anybody who listens to this track.

Just Go is perhaps one of the more traditionally poppier songs here, bringing a bouncier bassline like something out of a Mark Ronson tune, but with classical production emitting sounds you’d find on an Adele song. Reflecting on the song Parks said, “I wanted a breakup song that said, simply, No grudges, but please leave my life”. The contradiction of the civil wording of a toxic ending to the upbeat song makes it the perfect tune to vibe to if you’re having a hard time letting go of something, even when it is the abundantly right thing to do.

For Violet, is one of the darker songs on this record, it’s gritty like a Radiohead song but tunefully soulful like the rest of Arlo’s work. Eugene and Bluish take the reigns next. Bluish is about a relationship that smothers you, talking about when needing space “I shouldn’t have to ask you twice” and “You held me so hard I went bluish“, really enforcing that claustrophobic feeling.

Eugene tells the story of falling in love with a straight girl in a relationship, and how that unconditional infatuation can burn you right to the core. Continuing a darker element that was so strong in For Violet but with a warmer tone exploring that vulnerability.

“Seein’ you with him burns, I feel it deep in my throat
You put your hands in his shirt, you play him records I showed you
Read him Sylvia Plath, I thought that that was our thing
You know I like you like that / I hate that son of a bitch“

Porta 400 closes the album and brings more sampling back to the forefront, allowing the ending of this LP to be one that really does stick out but warmly wrap up the sound of Collapsed In Sunbeams. Porta 400 feels like after a series of unfortunate struggles, sitting on a hilltop watching the sun go down on an era of your life, breathing out and moving on. It’s the perfect credits to a film so somebody get onto making that. I think the chorus sums up the energy of the entire record; “Making rainbows out of something painful“, and in turn relieves whoever listens, helping them to find and make their own rainbows.

Collapsed In Sunbeams is a blissful journey that discusses life, the ups and downs, how you can be dealt a bad hand, but how your life is one of a kind. It opens it’s hand out to you with the simple message that is “you’re not alone“. At a time like 2021, there’s no better message to take on board.

Add Collapsed In Sunbeams on Spotify now.

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

Why We Love: Delorentos

It’s safe to say that Dublin has become the capital of new and exciting European bands pushing the boundaries and breaking norms in the past ten years. Delorentos are one such band who experienced a whirlwind of success with their single S.E.C.R.E.T, which launched these college students from Ireland into the spotlight across the world and spawned a plethora of great albums. The band takes inspiration from the legends Arcade Fire and Pixies; the resulting sound is equally phenomenal.

The music video to S.E.C.R.E.T was filmed at a house party and gained public attention for being the first Irish music video to feature a same-sex kiss. The band described it as causing ‘quite a stir’ in Ireland at the time.

Delorentos recently celebrated the 10th anniversary of the single which had launched the band’s career. In a video posted to their YouTube channel, they gave some insight into how the song had shaped their lives.

Soon after their success, things took a turn for the worst. Their manager quit, their distribution company folded, and they ended up losing their record deal. With the future uncertain, singer and guitarist Ronan Yourell left the band, and the group decided it was time to split.

They left behind them an album’s worth of unfinished demos, so at the start of 2009, the members reunited to record what they called a ‘farewell album’. Being back in the studio together brought back many fond memories of the bands. It reminded them how much they enjoyed writing together without the overhead pressures of labels or the expectation to top their hit single. They decided to reform the band.

Delorentos released the finished album You Can Make Sound in October 2009, which in its first week reached number 2 in the Irish Charts and gave way for many great follow up works.

Since then, their continued success has taken the band across the world, their music to almost every continent, and many great albums from them following suit.

These four from Dublin, who met as college students, now write brilliant music which goes from strength to strength, we love them and you will too.

Listen to Delorentos on Spotify now.

Categories
Indie/Indie Rock Pop/Indie Pop Uncategorized

Hidden Gems: Circadian Circus – Dan The Man

Multi-Instrumentalist Dan ‘The Man’ Haggis, best known as the drummer for indie sensations The Wombats, is no stranger to music outside of the award-winning band, with side project Sunship Balloon with fellow Wombats bassist Tord Øverland Knudsen over the last 2 years, working on new music and completing old Wombats demos that never made the final cut. But that’s not what I’m here to talk about. Haggis has had his fair share of solo music releases since 2012, but it’s 2017’s Circadian Circus that I want to share with you. 

Haggis stated around the time of the album’s conception and release that music is a coping mechanism, and that the passing of loved ones was part of what sparked the sudden creativity that led to this album. Circadian Circus goes into lots of different avenues, but mainly explores a lot of personal experience and mental health all wrapped in this ethereal aesthetic that helps shine a light on humanity, but despite being wrapped in this beautiful soundscape and visual paradigm to accompany it, Circadian Circus is actually a rather dark album. Themes of loss, depression and desperation, it’s a true testament to Haggis. In the leadup to the release of the album, I remember being incredibly hyped for it upon hearing lead single Something Good and telling all my friends to listen to it, and upon its release became such an identifiable release of 2017 that I still cherish now… You know, hence this article in case you’ve gotten to this point and you’re still wondering what’s going on, in which case Hi, welcome to Totally Wired Mag, we’re great, but you know what’s better? Circadian Circus. 

Track 1, Get Out Of Jail Free is a brilliant opener that gives you a great impression of what this album sounds like, with an absolutely killer chorus. Bringing vibes of The Pogues, Metronomy and Sufjan Stevens, this splendid anthem is just something that does nothing but get stuck inside your head. Seriously you’ll be humming this to yourself for weeks. The production on this is also fantastic, Haggis REALLY showing off his skills, and how he absolutely knows what he’s doing here. Combining indie folk to synthy bedroom pop in a sound that’s familiar but thus far, I don’t think has really been replicated since. 

Flowerpot Men (age check if you remember that classic Cebeebies show) brings an almost Beatlesy vibe into the mix, and the chorus is particularly Lennon-esk. Lyrically about the death of someone close which is something Haggis was having to go through during the writing process, but it made for some really humbling lyrics, for example, “They rehoused you on a star / the view must be great from where you are”. Losing someone is obviously something everyone has to go through at some point, but the humanisation of it here acts as such a resounding hand on your shoulder, in times where you’d otherwise feel out of your depth and alone. In addition with that repeated hook of “I’ll be pushing up the daisies, we’ll be flowerpot men”, it’s something that really sticks in your mind, but hauntingly so. 

Waiting For Love is one of the more stripped back (but still musically full on) tracks on the album. Strings and pianos carry this track through, and really hone in that hopelessness feeling. But the outro becomes this triumphant escapade that really does leave a glisten in your eye at the prospect of things becoming better, eventually. It’s just a really beautiful song that shines through specifically. It sounds like something Elton John or Father John Misty could write, it’s absolutely majestic.

Something Good was the lead single, and definitely sums up the album’s entire message and musical theme. It invokes the utter desperation for wanting something positive in the abundance of letdowns and sadness, and that is the key element that makes Circadian Circus. I think we’ve all been at the point where we’ve craved something, anything to fix the hard times, and the hook of the track is just something so personally and relatedly versatile; “Give me something good, even if it’s a lie, if it’ll make me smile”. Haggis knows how to pen down some wonderfully written lyrics and Circadian Circus is a testament to it.

What can I say really, Circadian Circus is the perfect album to listen to when things are falling apart around you. Obviously, that’s a very bleak prospect, but what I mean by that is, this album personifies the darkest of times and emotions you can experience, but shines them in an optimistic outlook. Songs like Something Good and Not As Far As It Looks (Self Help Song) are perfect examples of taking the absolute worst your mind can go through, and reshaping them as motivational speeches through music. Musically this album goes almost everywhere, drawing and clashing inspiration from bands like New Order, The Beatles and even elements of Pink Floyd thrown in there. Honestly, Haggis’ talent writing songs from top to bottom is something I can only really compare to giants such as The Beatles which yeah I know that’s a bloody bold thing to say, but there’s a simplicity to pop music and writing with a rawer soundscape in mind that Haggis captures so magnificently here, wrapped in this blanket of modern production that just enhances every sound, it’s something genuinely beautiful and so polished to perfection it just has to be said.

For those who are deeply interested in more music from Haggis, you’ll be pleased to know that just earlier this month he dropped a brand new album entitled Brightly Coloured Creatures, which if you’ve liked what you’ve heard then you’ll definitely enjoy its follow up. I’ll let the new record mull over before doing a piece on it, but trust me it’s marvellous too. I definitely shall review that in due time, but until then, keep your ears open and thanks for reading.

Listen to Circadian Circus on Spotify.

Categories
New Wave Pop/Indie Pop Why We Love

Why We Love: Studio Killers

When I say ‘virtual band’ you’ll probably first think of Gorillaz, but move over Damon for this group of equally crazed animals. Studio Killers are back and bigger than ever before, thanks to one classic tune’s unexpected viral success.

The animated group, formed of singer ‘Chubby Cherry’ keyboardist ‘Goldie Foxx’ and DJ ‘Dyna Mink’ (as well as their manager ‘Bipolar Bear’) first gained attention in 2011 when their single ‘Ode to the Bouncer’ reached number 9 in the UK Club charts. Doing live gigs as a virtual band is just as tricky as you’d imagine. Still, after crowdfunding the money to kickstart their venture into the physical world, the band first brought their animated personas to life in 2014.

After enjoying their first album’s major success, the group suddenly went quiet as the characters’ anonymous talent went back to doing their own thing. That was until 2018 when a video appeared on their YouTube channel announcing big things. The same year, they brought us two brand new singles and announced that they would be crowdfunding an animated web series based around their characters.

Some lucky bands see an unexpected surge in their popularity when one of their songs is featured in a movie or a tv show. There are many examples of groups being propelled into the spotlight, thanks to Hollywood, but something this group didn’t expect was to become a TikTok phenomenon. Their track ‘Jenny’ became a viral sound used by thousands of creators on the platform and has since relaunched the band into the spotlight and gained calls for new music ASAP.

Jenny is all about lead singer Cherry’s infatuation with her best friend, with one particular lyric being put to short videos of peoples friends, dogs, vegetables, you name it.

I wanna ruin our friendship. We should be lovers instead.

Cherry

Since the band’s formation, the musicians’ identities have remained a mystery, with all online interactions done via animated videos or stand-in look-alikes. The voice behind the ever-lovable singer Cherry is rumoured to be male singer Teemu Brunila of the band The Crash. Studio Killers have neither confirmed nor denied this, but if it is true, his female persona certainly adds a whole new spin to these already brilliant songs.

In celebration of their second wave of success, the band released an official lyric video to Jenny on YouTube. Their fanbase’s soaring growth will surely help in the group’s pursuit of making an animated series of Cherry and the boys, with the Kickstarter already having gained over double the support of their original crowdfunded gigs back in 2014.

For those who maybe aren’t usually keen on electronic or club music, fear not. Studio Killers offer something more entirely. The band’s fun, comical and fearless personas are full of all the bits we love about virtual bands, they most definitely offer something refreshing. Every Studio Killers song is a treat, so go ahead and treat yourself – take it away, Cherry.

Listen to Studio Killers on Spotify now.