Rhonda are a group from Hamburg, Germany with more than a few tricks up their sleeve. Their feel-good tunes are each a snapshots into past times spent driving in the sun through a dreamy soul-infused world. Exploring a new blend of neo-soul, rock and indie, Rhonda have set out on a mission to bring together both old and new.
The band formed from the remnants of rock band Thrashmonkeys after the group decided to split back in 2012. Four of the remaining members, however, decided it was time to set about on a brand new venture – one that would lead them to form Rhonda, a project which would craft fantastic new soul music for the modern-day. The band quickly became popular with some of recent histories biggest names, and in 2014, the band opened for Paul Weller at multiple gigs throughout Germany.
The band’s debut album ‘Raw Love’ is most notable for the song ‘Camera’ which launched the group into the spotlight. A cool and brilliantly crafted tune through and through, with some elements recognisable from classic soul records, a great voice and phenomenal guitar hooks.
Three albums now under their belt, with their most recent LP ‘You Could Be Home By Now’ released just last year, Rhonda are capturing more attention than ever from audiences across the world. Their recent work is an atmospheric exploration into the sweet-swinging sound of soul music, combining elements with the same great rock feel the musicians cut their teeth on.
For fans of The Arctic Monkeys or The Last Shadow Puppets, Rhonda are one such band with time-travelling abilities. Stick on your headphones and be instantly transported to a smoky soul club, with singer Milo Milone on mic in the spotlight.
Milone’s own solo projects are full of the same feel-good Rhonda energy, developing that same great soul-inspired sound and using her brilliant voice to tell stories of her very own.
HÆLOS, from South-London, are an extraordinary electronic and ambient band with a trance-inducing super-power.
I first saw the group supporting Interpol at Alexandra Palace way back in 2017. It was the perfect time to see them live; people could still come together in their hundreds, stand together and experience the hypnotic power of this band. Around that time, the band had just released their debut album ‘Full Circle’. Listening to an album as atmospheric as this performed in a venue the size of Ally Pally was about as close as I’ll probably ever get to a genuine religious experience.
For a moment, a room full of people forgot where they were, or even who they were. Yep. That was me – completely anesthetised by the scale of their sound – a genuinely incredible and utterly surreal experience – one of the very best supporting bands I’ve ever seen live.
Before seeing HÆLOS, I’d never heard the term ‘Trip Hop’ used to describe a band. As the definition goes; “a fusion of hip hop and electronica until neither genre is recognisable“, which by the way sounds like even Wikipedia are shrugging their shoulders at that one, somehow sums up this band sound pretty well.
Since that gig, I’ve kept a close eye on HÆLOS, and last year, the band released their second album ‘Any Random Kindness’. Once again, they were back with those classic layered synths and trademark sinister and unearthly vocals which made their first album so addictive.
Having a look through their YouTube comments, it seems that the band has built a large portion of their following through nothing more than fan curiosity. Early tracks released into the world were often accompanied by little to no explanation about who the band were. But, still, their music’s ability to send chills instantly down your spine has been enough to draw thousands of avid music fans looking for their next hit of discovery.
Continuously alternating between two vocalists throughout most of their tracks, they maintain a trance-inducing flow whilst still shaking things up. Similarly to the excellent blend of male and female voices from bands like Chvrches, In the case of HÆLOS, however, the combination seems closer, much more intimate, personal and imperative to their sound.
In true resurgence style of early techno, hip-hop and house music, with influences such as The XX shining through and the core elements from the days of Kraftwork still audible, HÆLOS have set out to not only honour their idols but to continue where those great bands have left off. A continued pursuit of new and exciting sounds, not attempting to sound like anyone else, but continually looking for new possibilities.
Listening to any HÆLOS track feels like placing yourself in a filmic world, one with a playful and inspirational flare. Following their second album, the band have now begun the next chapter of their exploration in music. After a series of single releases, the band published their combined EP ‘I’m There’ in October, teasing even more excellent and eerie sounds to come in their third album due for release next year.
As always, their sound is continually shifting. The EP serves as their first-ever release independent from Matador Records. Having now built their own South-London based studio and self-run record label from the ground up, the band describe the freedom they have gained as having ‘complete control over their vision.’
It seems fitting that nothing should stand in the way of this band who are always wanting to explore uncharted territory. Their recent EP is in many ways, their most experimental endeavour to date. HÆLOS are a band with a clear goal in their sights, who act with confidence and conviction in all they do and strive to discover just what’s possible with the tools and technology they have around them.
‘I’m There’ is available to listen to on Spotify now, with the bands new album coming next year.
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.
Billy Nomates, or Tor Maries to her actual mates, is a boyish and brave one-woman force of post-punk modernism. With her trademark deadpan vocal style and a bold, direct attitude, her new self titled album will snatch your attention right off the bat.
Tor Maries is no stranger to the music business, having been in several bands over many years before finding her recent success as Billy Nomates. Reflecting on her previous musical endeavours, Billy recalls many of her fellow musicians having to eventually concede to the painfully cold reality of “giving up and getting a mortgage” – an uncomfortably familiar story we’ve heard all too often. Thankfully, it was after one crucial gig that Maries found determination for one more stab.
Billy’s first single, appropriately titled ‘No’ is a testament to the power she has discovered that word has. Explaining that it was only when she started saying ‘no’ to people that things began to happen in her life, she’s found that the word has a certain power to ‘open doors’.
Maries’ lyrics focus heavily around themes such as the UK’s class structure, money, hardship, sexual and personal issues. And as someone who to say the least has had the ‘real deal’ when it comes to struggling to get by, you can tell that Maries’ lyrics around such themes come from a genuine place.
For what feels like a long time overdue, a post-punk artist has emerged with some real grit between her teeth. Just like the Joy Divisions, Happy Mondays and The Clash of generations past, the best post-punk music has always come from a place of hardship, and Tor Maries possesses all the right qualities and some good old-fashioned attitude.
Following three exceptional singles at the start of the year, Billy released her self titled debut album in August to much acclaim from the media. As for our opinion, everything which was seemingly promised in Billy’s earlier singles has surly been delivered upon. A blend of punk and electronic, inspired by some of her favourite artists but with an added touch of her own, Billy Nomates has undoubtedly crafted a truly addictive sound.
One song from the album ‘Supermarket Sweep’ features Jason Williamson of the electronic duo Sleaford Mods as a guest vocalist. This band of a similar vein has been highly influential in Billy’s career since very early on. From serving as first inspiration for her sound and giving her the confidence to pursue a new line of music, to having Billy support them at their online gigs this year, the duo has been helping bring Billy’s music, quite rightly, into the spotlight this year.
Now I know what you’re wondering – how does an artist end up with such a demeaning name as ‘Billy Nomates’? The comment was infact thrown at her by a common heckler at a Sleaford Mods gig no less. The man’s remark to Maries being on her own at the gig gave inspiration for the name. Maries admits it’s a moment she’ll ‘never forget’. Later on, and the man from the gig, and all the blokes of the world with too much to say, were immortalised in Billy’s song ‘Fat White Man.’
With this only the start of the Billy Nomates journey and with the stage already set for more great tunes, we can’t wait to see what’s next for this free-speaking voice and her fantastic sound.
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.
Meet Jessica Smyth, better known as Biig Piig. Born in Ireland, brought up in Spain and now based in good ol’ London town, the neo-soul/hip hop singer has been gaining traction over the last couple of years with her silky smooth tracks and emotionally in-depth lyrics, taking inspiration from classical folk Irish music, Latin Jazz to modern indie and hip hop. But with that all in mind, you can’t hold Smyth’s music to just one style, I mean how could you with that diverse a range of inspiration? But her vibe is complete chill, as if you’ve stumbled into a run-down bar with the local jazz band pulling you in.
Smyth grew up in Spain and spent a lot of time in the Irish pub her parents owned there. Growing up around a pub setting definitely shapes you differently, as stated by Smyth before “I think you learn a lot about people when you’re surrounded by adults a lot of the time, they don’t treat you like a kid. Maybe that’s where the writing came from when I was younger.” And from living in Spain for so long, you start to learn the language which is where Biig Piig’s music gets interesting. Not only does deep classical Spanish music flourish throughout her work, but also slipping into the Spanish tongue giving her music this double-sided feel that’s irresistible.
Biig Piig’s first single was dropped back in 2017 on Soundcloud, but that caught the attention of COLORS, who gave her a spotlight at their Berlin studios, helping her soon-to-be-fans find her sensual songs. Fast forward a year, and she released her debut EP ‘Big Fan of the Sesh, Vol. 1’ Further answering to the deserved hype and solidifying her fanbase. Tracks such as ‘Dinner’s Getting Cold Ft. Mac Wetha’, ‘Perdida’ and Flirt’ really demonstrated the talent Smyth has; lo-fi beats with velvet-like vocals to shatter dimensions.
Upon meeting Mac Wetha at sixth form after moving to London, the two have become good friends and regular collaborators within her own music and with their DIY Art Collective NiNE8. ‘A World Without Snooze, Vol. 2’ was released in 2019 and whisks you away to that special place in your mind where you can breathe easy and relax.
The track ‘Vete’ caught a lot of attention from the expansion of the smooth sound incorporating a cheeky bit of Sax to really hone in that chill Jazzy vibe. And thus Smyth signed to RCA Records, then immediately starting work on the final instalment to the trilogy. In November that year, she dropped ‘No Place For Patience, Vol. 3’.
Really perfecting her sound here, it feels as if the journey had really taken you somewhere. The production of the song ties every little nook and cranny together into this ear-melting sound. Roses and Gold kicks off the EP, introducing some funky slap bass to shake things up whilst staying inside the proverbial box. Smyth does new things here but nothing feels out of place. ‘Lie to Me’ closes the EP and shows off some of the complexity to her lyrics; “I don’t wanna go, but this heart ain’t a home / Peace of mind, my peace is fucked. lucking out when he won’t listen / Risking trust to prove a point”. Smyth somehow just has this immense control of singing (in both English and Spanish) with such depth and on the flick of a switch completely nails these free flow rap verses which blend with her sound so perfectly.
Earlier this year, Biig Piig treated us to her political commentary of the 2019 snap election; ‘Switch’ which is a fitting title. This is a Biig switch indeed from her earlier work, fast-paced, angrier and with more drum ‘n’ bass inspiration. Smyth has said “I thought when I was writing it that it was about a relationship, but then I was like actually nah, it definitely isn’t. It’s that same hate but just for something else.” Switch is the kind of left turn an artist needs to take after solidifying their sound from 3 EPs worth of material. The track goes out of bounds but still suits Smyth’s voice, like something was suddenly realised inside her mind. The content of the song definitely needed a more prominent sound, so it all compliments each other ridiculously well really.
‘Don’t Turn Around’ was dropped in July this year and samples Love for the Sake of Love by Claudia Barry, more commonly known from being sampled in Montell Jordan’s Get It On Tonite. You may also recognize the directing style in the music video and you’d be onto something, frequent Beabadoobee video collaborator ‘Bedroom’ directed the song’s video, complimenting the sound of the track with a rich visual paradigm. Once again showing off her flow with some insanely catchy rap verses, bookended by delightful vocal hooks in the chorus. Lyrically being quite a jam-packed song as you’d expect with rap verses, but really shoving that emotion into the listener in a really exciting way. Smyth spoke about the song, saying it’s “my post-breakup, pre glow up tune. Finally getting to confidence through self-love and letting go of toxic relationships”. All we can take from it is that it’s such a good song and Biig Piig’s artistry really shaped it into something new and refreshing, leaving us with open arms for whatever her next outing may be.
Biig Piig is someone who needs no real introduction, just an open mind and a good pair of ears because no matter what the Irish-Espanol singer dishes out, it’s no doubt to be something that gets you hooked. In fact, Clairo and Billie Eilish have proudly announced themselves as fans, so why not join them? For once I can safely say that it’s right to believe the hype.
Like what you hear? Check out Biig Piig’s latest release and double single ‘Oh No / Liarh’ on Spotify.
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.
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.
