Category: Why We Love

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Punk/Rock Soul/R&B Uncategorized Why We Love

Why We Love: Warmduscher

Twisted, funky and humorous. Welcome to the weird and wonderful world of Warmduscher…

Formed as an impromptu band for a New Year’s Eve house party back in 2014 the five-piece fuses the talents of pre-existing bands Fat White Family, Childhood and Paranoid London, consisting of members Clams Baker Jr, Lightnin’ Jack Everett, Quicksand, Mr. Salt Fingers Lovecraft and The Witherer aka Little Whiskers. 

Considering they sound like superhero rejects and were formed as a spur of the moment laugh they’ve now evolved into a fully solidified collective. In the 6 years since their formation they’ve worked with inspiration Iggy Pop, toured the UK and Europe and released three albums; with their latest release ‘Tainted Lunch’ being sandwiched between the two Fontaines D.C. albums on 4 x mercury prize nominated producer Dan Carey’s list of records.

There’s really not much that can be predicted from these guys with each track taking you to places you’ve definitely never visited before. However, they are kind enough to introduce you to their love of hellish humour and irony from the get-go as ‘Warmduscher’ is a German slang term for a ‘wimp’ but this insult far from applies to them, as their bold moves in producing dark and adventurous ‘fractured rock’ is quite the opposite of cowardly.

Now Like I mentioned, Warmduscher are hard to predict and for that very reason just as hard to define because they mash together so many different sounds; many of which no one would expect to hear together. One minute they’re dark disco funk on tracks like Disco Peanuts (I feel like you can begin to pick up on their erratic nature here without even needing a listen), then the next they’re storming macho rock on The Warm Smell of Florida and dark and grinding Midnight Dipper whilst also capable of bringing a surprisingly sweeter side in the melancholy boogie of Summertime Tears.

Despite being London based and clearly incorporating plenty of post-punk with their turbulent guitars and bouncing basslines, their frontman Clams Baker Jr was born and raised in Massachusetts and brings an American croon to the mix. When backed by their thick sound you feel like you’re trying to hitchhike in a heated desert which has resulted in comparison to bands such as the surprisingly English Alabama 3. Baker Jr sites the legendary James Brown as an influence, which really reveals itself in his narration-like vocals on the slow-burning intro of 1000 Whispers before reaching delightful screams that lead back into a smooth melody.

As well as capturing the soul of Brown in Clams’ singing there’s also that groove in the music on songs like Dream Lotion and the hip-hop infused Burner featuring Kool Keith- a song about getting your hands on some drugs (which I’m certain they must have done before writing this as well as many others). Standing On the Corner is one that instantly comes to mind as a trip fuelled track with psychedelic undertones lying beneath heavy riffs- accompanied by a mental music video to match.

Besides these varying sounds, there’s also the techno transportation of Uncle Sleepover that throws you right into a video game with its laser blasts and warping synths which is again quite a contrast to the likes of Tiny Letters; a song with a gentle melody at its core layered with those screams again, proving that whatever you listen to you’re taken to a new unknown destination.

The band have always embraced a real ‘go with the flow’ attitude as all members have other projects that mean they can’t solely dedicate their time to Warmduscher. They never had much time for rehearsals or multiple takes so recorded their albums by splitting them into halves and doing whole takes as they would with live performances- injecting real energy into their releases. Things are just as impulsive when it comes to actually being in front of crowds too; making lyrics up on the spot which explains such random lines as ‘I won’t pay for their discos, I’m not gonna buy their sandwiches’ and ‘trippin at the Weatherspoons’.

Recently, as they’ve developed further they have become a little more structured; reworking a few things where they can in order to get the best out of what they’ve got which has resulted in a beast of an album. They still continue to appear just as spontaneous to gig-goers in their manic stage presence though and I doubt they’ll be falling into too many generic conventions- still coming out with ideas ‘from the back rooms of your minds’.

It’s safe to say that Warmduscher really have their own way of doing things and thanks to this are one of the strangest things but also greatest things that I’ve listened to in quite some time. With their melting mixture of ideas, they’re bound to feature something that you love too, so take a listen to the madness yourself.


Warmduscher on Spotify

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

Why We Love: Mattiel

I have to admit, it’s rare these days that a new band or artist thrusts their way into my consciousness so hard it knocks me off kilter. And believe me, it’s not for lack of searching! I invest a lot of time reading music blogs, listening to friend’s suggestions and throwing myself at the mercy of Spotify suggestions. Searching for that euphoric “fix” of new music that enriches the soul and helps pass the working week. And so it was that I came across the wonderful sound of Mattiel Brown. One mundane day last year was suddenly lit up by a gem in my release radar called  “Keep The Change”. The vibraphone-spattered opening bars pricked up my ears, followed by an urgent drum battery that wouldn’t sound out of place behind Levi Stubbs and the lads. Before the vocals even hit I was already signed up, but as soon as Mattiel launched into a saturation drenched “..And just-a-what did I get into here, walking on this floor?”, I knew I’d found something special.

The lo-fi (almost DIY) production and overtones of various classic genres at first tricked me into thinking I’d discovered some obscure classic from the distant past. After all, Mattiel wouldn’t sound out of place sandwiched between The Rezillos and Fabienne DelSol. But there’s something unique going on here too. And so the journey began.

After some Googling I found that Mattiel, or Mattiel Brown to give her full name, hails from Atlanta Georgia, USA and until very recently worked as a graphic designer for spam cannon MailChimp. This was before teaming up with guitarist and co-songwriters Jonah Swilley and  Randy Michael, and subsequently catching the ear and endorsement of Jack White. I was shocked and ashamed to discover that “Keep The Change” is actually from Mattiel’s second album “Satis Factory”, and that her eponymous debut some two years earlier had somehow passed me by. 

Both albums share Mattiel’s knack for storytelling. There’s an intoxicating blend of humour, irony and vitriol that draws you into Mattiel’s slightly irregular orbit. Check out the bouncy tale of “Baby Brother” or the decline of “Cass Tech” from the first album. And a real stand out track from the second album is Millionaire; “Ever since I got myself this easy chair, might as well be a millionaire” – wordcraft to rival Robert Smith, Mark E Smith or Morrissey in their pomp. But there’s no fat on either record; every song is vital and essential listening, and believe me I’ve listened repeatedly. “Populonia’’, “Blisters”, “Berlin Weekend”, “Long Division” – earworms, the lot of them. And all wrapped in a delicious cloud of Sam Phillips slap-back, Phil Spector spring-reverb and Joe Meek saturation.

Sure, you can hear the eclectic influences that haunt Mattiel’s music, but it would be impossible to pigeonhole her into a genre; and that’s a wonderful thing. All I can say is there’s something different about Mattiel; different in the way that PJ Harvey, Bowie, Nick Cave, Grace Jones and Polly Styrene are all different. She’s just not the same… and that’s why we love her.

Listen to Mattiel on Spotify now.

Categories
Indie/Indie Rock Why We Love

Why We Love: Her’s

For a band consisting of only two people, Her’s certainly knew how to get things moving. Cascades of chorus, bass lines to move mountains and vocals to ground you back to earth and take you far into your dreams all the same, the talent here knew absolutely no bounds. Which is why it was heartbreakingly awful to hear that Stephen Fitzpatrick and Audun Laading along with their tour manager Trevor Engelbrektson were tragically killed in a traffic collision in America whilst travelling to one of their tour dates in March 2019. A band with so much potential and so much love, was taken far too soon, which is why I wish to pay tribute to Her’s and hopefully introduce you to a remarkably wonderful band who’s work deserves to be heard and remembered for years and years. 

Her’s formed in 2015 and a year later released ‘Dorothy’ and B-Side ‘What Once Was’,  which brilliantly showed off just what they could do. Psychedelic falsetto vocals juxtaposing the baritone range Fitzpatrick had, the jangly guitars taking you straight back to bands like The Cure and Siouxsie and the Banshees, along with the complimentary percussion loops of their drum machine, Dorothy showed not only the capability of Her’s, but also to aspiring young musicians that you don’t need some enormous 5 piece band to write and release your music, but that even limited you could record music AND perform it with only 2 people, which I’d argue has definitely influenced and helped the indie scene today. 

Later Her’s released more music that sat in the balance of absolute bombastic bangers and shy intimate whispers. Characterisation was a big part of their work, namely within the lyrics and vocals, almost melodramatic at times, each song and each line felt as if they had their own personified consciousness to guide, as well as writing songs in character allowing Stephen to write about such diverse topics that writing using personal inspiration secludes you from. Take the song ‘Speed Racer’ for example, which tells the story of someone who’s looking for lust in a one night stand, another corker that just makes you feel the need to get up and groove wherever you may be upon listening. 

Her’s continued to write and release music throughout the following year and thus released ‘Song’s of Her’s’, a compilation album of all the songs they had written thus far, along with a few new tracks to delight fans. Tracks such as ‘Cool with You’ conveyed lighter sounds, almost lo-fi giving off early Rex Orange County vibes, but all the while being something unique, like taking the surf rock genre and drugging it up on morphine, but also producing tracks such as the  before mentioned ‘Speed Racer’, the fast paced glossy rocker that completely blows your socks off. From then on Her’s began to play shows here, there and everywhere, all while working on their debut album, and it was at their live gigs where you really got to see the talent of simplicity and how much an effect they had to their audiences, but also, you got to see just how much fun they had performing, every song had substance, and to see the shared bliss between listener to performer was profound. 

In 2018 the dynamic duo geared up to release their debut album ‘Invitation to Her’s’, and once it dropped it was heavenly. Somewhere in the void between dream pop and indie rock, Her’s laid the foundations and left a significant mark on the music scene. Dropping the single ‘Harvey’ with a hilarious music video as if Scooby-Doo met Laurel and Hardy. Invitation to Her’s showed more of Her’s quirky appeal, quality music, good laughs and the theme of Her’s giving this almost episodic feel to their works. 

Later the duo released the single ‘Under Wraps’ which showed off a more sombre side to the sound of Her’s. Sonically it felt as if there was something a tad more toned down from the typical Her’s theme, with so much more musical depth in the mix, but all the same just really developing that oh so heavenly sound from their previous releases. It was like Her’s had released the perfect slow dance song for a wedding, however lyrically the song took a more emotional tone, meant to comfort your loved ones who go through changed in their life, Her’s saying it’s a song to offer “reassurance and support”. 

And with the actual release of ‘Invitation to Her’s’ we were able to quantify just how good the band of Her’s were, and consume the marvellous mania of their sound. The intense amounts of depth, layered instruments, drum machines blended with live drums, ambient synths and general improved production that gave off an even warmer sound to the band. Tracks like ‘Mannie’s Smile’, ‘Blue Lips’ and ‘If You Know What’s Right’ are just a few of the intense flavours Her’s had to offer this time round. It showed just how good they were at their craft and could bring a tear to your eye as the music transports you to your happy place. Her’s were packed with potential, and they were able to drop off such a phenomenal record that definitely leaves an unprecedented mark on the indie rock and bedroom pop scene. The talent between 2 guys making music and having fun is the pinnacle of modern indie music. Her’s managed to stand out in a crowd, revolutionise the scene in their own way and take things back to a more simpler approach amongst the ambush of 4 or 5 piece bands going far too in depth to try and accomplish the same sound. Her’s was a natural, passion fuelled project that just expressed its own ecstasy wherever they went, with anyone who listened to them. 

So I implore you to take a deep breath, set sail on the journey that is your invitation to Her’s, and experience the bliss that is Her’s, and the mark they left on this world that spins ever more so lonely with their passing, but stronger after their influence. And to Stephen Fitzpatrick and Audun Laading, thank you for the music, and for everything. 

Categories
Indie/Indie Rock New Wave Why We Love

Why We Love: Working Men’s Club

If you’re currently missing proper, atmosphere-filled nights out (and let’s be honest, who isn’t given the current state of the world?) then fear not as I’ve found the perfect antidote and their name is Working Men’s Club.

I recently read The Hacienda: How Not to Run a Club by Peter Hook and thanks to the part-owner/bassists amusing accounts and vivid imagery, craved nothing more than to experience the iconic venue back in the day. However, I reluctantly came to terms with the fact that that was never going to happen and so decided to seek out the next best thing- some top acid tunes. 

I listened to everything that I could find from the time but having grown up in the home of the club it was all quite familiar so didn’t fully satisfy this newfound buzz; I needed something fresh and exciting that still contained the original heart. This was harder to come across than I’d first anticipated but finally had a Hallelujah moment at the beginning of this month when Working Men’s Club released their self-titled debut album and answered all of my prayers.

I was hooked (pardon the pun) from the second that opening track Valley’s first kicked off but at the 1.50 mark (0.30 in the video should check out below) something really special happened when the pounding bass cuts for a synth riff just before the lyrics kick in. In that moment I felt the closest that I believe I ever will to first experiencing the height of the movement back in the 90s and from then on I was in a trance for the rest of the record; treated to further squelching acid infusions as well as many more musical delights…

Falling Somewhere between the two bands that helped to fund the legendary ‘Hac’, Working Men’s Club clearly have a post-punk edge (just give Cook a Coffee a listen) but despite having a natural ability for creating this sound they didn’t play it easy and simply follow the classic Joy Division route; instead incorporating synth and electro to give things a New Order-esque spin. 

It would be a crime to only liken these guys to other bands though (no matter how great) as they seem to be exploring everything on the spectrum in between and actually credit the Detroit house scene as major influences. The result is their own new sound that can leave you charged and ready to dance one minute then lost and daydreaming the next.

Encapsulating the sounds that I grew up with but bringing something from my generation into the mix, I felt a kindred spirit in the band. There was something in the name and listening to their first few tracks that gave me the feeling that they were fellow Northerners (and once I saw that their third was titled John Cooper Clarke I had absolutely no doubt about it). I figured that this might have also contributed to that close connection because despite being from Yorkshire rather the home of the punk-poet and FAC51, things growing up in Todmorden feel just as small and grey (but equally hopeful). 

Like all great bands from the North, you can really hear this in their sound; the bleakness and claustrophobia in lead singer Sydney Minsky-Sargeant’s lyrics; being ‘trapped inside a town’ ‘running out of time’ but also the sense of working pride and excitement that there’s something beyond, in the sounds that they’re backed by. 

Minsky-Sergeant is now the only original band member left standing but at the fresh age of just 19, commanding you to watch him in his SOCIALISM print t-shirt he’s definitely not backing down any time soon. Originally joined by guitarist Giulia Bonometti and drummer Jake Bogacki the first line-up released debut single Bad Blood in 2019 which gained comparisons to the Totally Wired band The Fall and flows into B-Side Suburban Heights, a song filled with a jangly Smith’s-like sound. The tracks were greeted with great acclaim but success didn’t mean that Syd was ready to settle and he eagerly continued to explore and develop.

The fired-up front-man gravitated towards a new electronic noise however, this wasn’t for everyone and led to the departure of Bogacki, whilst Bonometti also moved on to focus on a solo career rather than the evolution of WMC. This, in turn, forced him to change things up even more than anticipated; sequentially swapping out the drum kit for a machine and expanding the club’s membership to three new musicians in the form of bassist Liam Ogburn, Mairead O’Connor on keys, guitar and vocals and Rob Graham joining Syd on guitar and synth.

Together they took on this new angle drawing them in; each member boldly bringing their own flourish and when combined with production from Ross Orton- the same Yorkshireman behind tracks from the Arctic Monkeys (and rather ironically The Fall), bedroom-recorded demos were transformed into a well-polished LP.

Wise beyond their years, you can already hear that the band know what music they want to make and have a great skill for executing it. The tracks on their album come together to create a cohesive experience but each is individually fresh with a mix of elements.

There’s the Stand out Acid House infusion on the likes of Tomorrow and plenty of upbeat rhythm in White Rooms and People. In addition to this optimistic sound, you’ll also find balance in a darker side; where they channel the grit that’s sung about on Teeth in its grunge guitar and evoke doom in the striking beats of Be My Guest. 

Also incorporated is a touch of afrobeat, funk and even indie on Outside where they sing about reminiscing in the sunshine, delivering lyrics about a ‘technicolour daydream’ whilst hardly needing any words at all on the pulsating A.A.A.A…That isn’t all either, as just when you think they’ve proven their capability they top things off with Angel, a 12-minute journey filled with swooping psychedelic sounds that creates a deservingly epic finale.

Speaking the honest truth and producing music that’s simultaneously nostalgic and now, they’re only one album in and hard not to love. Although they might have captured the sound of the North and named themselves after the places they originally strived to play in, Working Men’s Club look well and truly set to take on the wider world.

Check out Working Men’s Club on Spotify

Categories
Punk/Rock Why We Love

Why We Love: Dream Wife

A truly badass punk rock band by any definition – these three girls are set to take on the screwed up modern world and kick it where it hurts, bitches to the front please for Dream Wife. 

Using their lyrics to quite literally give the finger to stereotype gender roles, sexism and objectification they’re here to save the world with a voice louder and a message more pervasive than the misogynistic old gits who run it.

The group, fronted by Islandic talent Rakel Mjöll and accompanied by effortlessly cool instrumentalists Alice Go on guitar and bassist Bella Podpadec have become known for a popular “bitches-to-the-front” code at their killer shows, where female gig-goers can mosh together without fear of wandering hands or other unwelcome attention.

Defiant words, rocking music and advocates for equality, Dream Wife are the group that we’ve been longing for and they couldn’t have come at a more needed time. About to set off on their 2021 Europe wide tour, they’re taking their message with them and yelling F.U to old ways.

Given that their origins were as a ‘fake girl band’ for a concept art piece, they’ve come a long way- now having evolved into a fully-fledged powerhouse of a group.

Yes, you did read that right, Dream Wife simply started out as a performance project after Podpadec and Go, who had already met during a Battle of the Bands (they just keep getting cooler don’t they?), joined forces with Mjöll at Brighton University and released their inner Spinal Tap- playing characters in a music mockumentary. 

However, it evidently surfaced that these weren’t just personas they were channelling but actually, their true rock star identities rising and ever since the band have been putting out amazing tracks that you’ll definitely be wanting to turn your volume up to 11 for.

The girls bring a clean-cut edge to punk. Storming guitars, strutting basslines and strong elocution in Mjöll’s gritty vocals have a well-polished finish- resulting in an all-round refinement that sets them aside from many bands that are currently opting for grungier post-punk mumbles. Stand out tracks that encapsulate their trade-mark sound include the adrenaline-inducing Sports!, Hey Heartbreaker and Taste; featuring the line ‘I’ve got movement in my blood and it’s pumping up’ which is definitely how you feel whilst listening.

They’re no one-trick pony solely dependent on volume and aggression either, with Mjöll having originally trained in jazz and opera she’s also more than capable of displaying a more melodic side on songs like emotional sophomore album closer After the Rain tackling the tough but equally important issue of abortion or Temporary where accompanied by softer riffs and a dreamy aura they show that they’re capable of just about anything.

Not only do the trio have the coolest collection of names between them but also the coolest attitude to back their pure punk sound. I defy any female to feel anything other than empowered whilst listening to them, with lyrics like ‘serve it, smash it, win it, own it’ delivered with a punch, you’re left feeling riled up in the best possible way; energised and ready revolt. 

Citing the likes of Debbie Harry and Madonna as inspirations you can hear that they were raised on an array of iconic female stars and this combined with their reminders that they’re more than just an object and saying ‘hasta la vista’ to anyone that doesn’t agree means they look set to take on their idols roles; inspiring a new generation of girls both musically and in life.

It’s not just women in awe of Dream Wife though; evident by the fact my fellow writer James was planning an article on the group at the same time as myself. He graciously embraced the ‘bitches-to-the front’ ethos and let me have it but I still wanted to include his take as a male fan.

“Sometimes it’s only when a band like Dream Wife comes around do we realise how much we needed them. This group and others like them such as Pussy Riot and Nasty Cherry are grabbing us by the collar and showing they’re a force to be reckoned with.

Just as we’ve seen throughout history, it’s this unmissable attitude gets sh*t done and I respect anyone talking sense with a voice louder than the Donald Trumps of the world.

These girls have proven time and time again that anything we can do, they can do better. Guitarist Alice Go may even be one of the most talented guitarists of her generation. Notice how I didn’t say most talented female guitarists? It’s time we stopped putting women in a separate category. While that may work for sport, music is about intelligence and these girls have sure shown us that.

What I really hope to see is that Dream Wife inspires a resurgence of all-female punk bands, because without them, the world would be a very bleak place indeed.“

I have every faith that this invigorating band has it in them to do just that and keep the world rocking. It’s time to prepare yourself for the force of Dream Wife and the riot that will inevitably follow.

Get rocking to Dream Wife on Spotify now

Categories
New Wave Pop/Indie Pop Soul/R&B Why We Love

Why We Love: LANTA

Kimberly Anne, also known as LANTA, is a singer/songwriter from South London and a truly extraordinary talent. You may recognise her voice from Sam Feldt’s hit cover of Show Me Love, but despite her chart-topping success as a vocalist, Kimberly isn’t going to let anyone tell her what music she should be making. Someone who doesn’t need a leg up from anyone, now publishing songs under the pseudonym LANTA, Kimberly continues to create the same remarkable songs she has always done – oh boy you’re in for a treat.

I could talk all day about any of Kimberly’s old tracks back from her days as simply ‘Kimberly Anne’, but let me share the very first song of hears I listened to, one which stopped me dead in my tracks; ‘Bury It There’, released in 2012.

This track is, and I say this with no hesitation, nothing short of genius – a pure blend of acoustic pop with soul, beats inspired by different cultures and powerful lyrics fit for an equally powerful voice… Oh, how I envy you hearing this tune for the very first time.

The release of Bury It There and subsequent 5-track EP deservedly earnt Kimberly Anne much attention from the UK music scene and festival slots alongside the likes of First Aid Kit, Haim and The Rolling Stones.

After discovering Kimberly’s music, it wasn’t long before I began asking people ‘have you heard of Kimberly Anne?’ ‘You must have?’ ‘She’s incredible!’

Brought up on the music of Van Morrison, The Cure and Bloc Party, Kimberly taught herself to play the guitar before studying percussion for a time in West Africa – an experience which has given her tunes some refreshingly unique characteristics.

After the release of her EP Ballads in 2017 and her feature in Sam Feldt’s hit dance track (although house was not really my thing), I eagerly awaited to hear more original work from the songwriter, whose talent can only be truly appreciated by listening to the songs she writes herself.

Years went by and nothing came. I wondered what had happened to Kimberly, as did most of her following at the time. An empty website, all social media channels gone and a youtube comment section begging for more incredible music, it wasn’t easy to track her down. Then in 2019, she relaunched as LANTA – a new name and a statement to the music industry that she wasn’t going to be snatched up by labels looking to ride on the back of her chart success. She wanted to make music that really mattered to her – and that we applaud!

Through her new ’80s soaked soul tracks, LANTA writes about the things that matter in her life, her sexuality, her mental health and her confidence – through this she is slowly becoming a role model for lots of young individuals and a much-needed voice for today’s openly gay black women, a role model she admits she never had growing up.

A new name for her music and newfound confidence, but the same brilliant songwriter. As a former student of The BRIT School who studied there around the same time as Adele, there’s nothing now standing in the way of Kimberly Anne/LANTA becoming just as triumphant. It’s still early days for her new musical persona, but with a voice and talent this big, she surely won’t go unnoticed in times to come.

Listen to LANTA’s new singles now on Spotify.

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

Why We Love: Orgone

‘Orgone’ is a term best described as an esoteric energy or universal life force but more importantly, it’s an incredibly well-fitting name for this musical time machine of a band, that’s continually bringing a magnetic power to groove and soul…

I was genuinely taken aback at how well the West Coast collective capture the sound of classic 60s/70s funk, perfectly delivering an essence that I was searching for more of- specifically from current artists. Their time travelling isn’t just to the heyday of funk though, upon further listening, so many more influences surfaced from New Orleans jazz to modern hip-hop. Perfectly melted together, their sound has resulted in comparisons to not only legends such as Chic and Earth, Wind & Fire but also 21st-century stars like Childish Gambino.

I already recognised a few of their biggest hits (as you might too) but since properly discovering the band I’ve had their tunes playing non-stop. Blending from one to another as seamlessly as their styles are combined, I often find myself in a trance when listening to their mixing pot of sounds. Sometimes it feels like only a fleeting moment has gone by before I’ve made it through an album; always leaving me ready and raring to start the journey all over again. Their bold, flowing mixes and ability to take you to another time and place go to show that it’s not just me in need of their sound in my life as they’re guaranteed to satisfy any musical void that you’re looking to fill or just breath some new life to your playlists.

The California bands’ only consistent members since forming in 1999 are founders Dan Hastie on keys and Sergio Rios on guitar and engineering duties. However, the group has now stood at a solid five members for their last five albums, with Dale Jennings on bass, drummer Sam Halterman and singer Adryon de León joining Hastie and Rios in 2013 to form a more permanent set up. 

Many of their mesmerising tracks tell a story without a single word being sung but León takes things to the next level-shining brighter than ever on their 2019 album ‘Reasons’ with vocals on every track (We Can Make It is a personal favourite of mine). A variety of additional talents from Fanny Franklin to Jesse Wanger are often brought on board for vocal contributions as well; also helping to take things up a notch and ensure a consistently changing sound.

Always fresh and exciting the band are amazing in the studio where they produce their popping tracks and even work with artists such as ‘Queen of R&B’ Alicia Keys. The excitement doesn’t just stop there though as up on stage they really come into their element. Creating a kind of party atmosphere that would have fuelled Studio 54 back in the late 70s they clearly thrive off of their live audience grooving out to their glorious performances. Whether they’re in front of fans, working with top talents or on their own, there’s always an electrifying vibe in the room, as evident in the clip below-

In late September of this year, the band put out ‘Connection’, their appropriately named tenth record that instantly creates a relationship with its audience and bonds together all of their best elements. Kicking off with The Vice Yard you’re hit with powerful horns, sleek guitar licks and a pounding rhythm section; immediately locking you into the experience. The album goes on to provide a more futuristic vibe with tracks like Love Will See Us Through; evoking the the-sci-fi elements of time travel with electronic experimentation and making it clear to see why people are reminded of albums such as Gambino’s ‘Awaken, my love!’. Other stand out songs include The Truth, featuring a marvellously groovy riff and outstanding display of Kelly Finnigan’s husky voice, This One Time; a sweeping Motown dream and the reggae-infused This Space.

Although ‘Connection’ might be the finest exhibition of their greatest strengths it certainly wouldn’t exist without all efforts that came before, where these elements began to materialise. Whether it was using steel drums or synthesizers, Orgone have been making hits since the early days with their self-titled debut album back in 2001 displaying their ability to genre jump and produce superb songs from the very beginning. Truly breaking ground 6 years later with their full length follow up ‘The Killion Floor’ they’ve continued to create hit after hit and I don’t see them stopping any time soon.

Perfect for a chilled-out groove or conquering the dancefloor I strongly urge you to get listening Orgone anytime or any place and be transported by their universal energy.


Listen to Orgone on Spotify now

Categories
Pop/Indie Pop Why We Love

Why We Love: Lisa Mitchell

The music of Lisa Mitchell is perhaps some of the most heart-string tugging stuff around. The self-made singer, born in England and brought up in Australia, topped the iTunes charts in 2007 after appearing on the Australian singing competition ‘Australian Idol’ when she was just 16.

Since the start of her career and the days of live streaming to her MySpace page, Lisa Mitchell’s unusual journey through music has only gone from strength-to-strength. 14 years on and with three astounding studio albums plus four EP’s under her belt, Lisa continues to make us feel our very deepest emotions with her soulful melodies and sincere velvet-like voice.

Although in the past singers who break through on talent shows have maybe been given a bad rep, normally due to a common trait of having an incredible voice but no real songwriting ability, Lisa Mitchell is a welcomed exception to the rule. Her tunes are intelligent, moreish and charming in every sense of the word. You only need to listen to one of her songs to get a sense for her deep feeling, empathetic personality.

A fantastic well-rounded talent; her music and career, built on the foundations of home recording and unique skill, has certainly been inspirational to many young, especially female, songwriters today.

Her astounding debut album ‘Wonder’, released two years after appearing on Australian Idol, certainly delivered on the promises of her perceived talent. Mitchell’s later work sounds much more grown-up and refined, her two follow up albums ‘Bless this mess’ and ‘Warriors’ are a big step up in terms of their production as well as their overall mood.

Each of her albums seemingly has a song for every state of mind – from hope to complete despair, whatever emotions you need to get out, I’ll bet you Lisa has a song written just for you.

Mitchell’s sweet voice and beautiful acoustic melodies create vivid nostalgic images, but not from your own memory, from hers. Through her music, like light which enters a camera, her songs are a picture of her reflected memories. Listening to her songs reminds you of falling in love with a summer romance; after days spent together in the sun, as the autumn finally comes around, you part ways, but the feelings you have for each other will never be lost.

It’s the very same feeling you get in your chest watching the films of French director Michel Gondry (‘Eternal Sunshine’, ‘The Science of Sleep’).

Over recent months, we’ve seen that despite being locked down in Melbourne, Lisa certainly hasn’t lost touch with her roots as a MySpace celebrity. 14 years on, she still streams original songs to fans on Instagram TV.

With new demo’s being teased on social media, we hope it won’t be long before we hear more from Lisa. As always, we’ll be waiting with eager ears and faithful hearts.

Listen to Lisa’s most recent EP ‘When They Play That Song’, full of brilliant covers of the very people who first inspired her.

Categories
New Wave Punk/Rock Why We Love

Why We Love: La Femme

Some bands are difficult to understand. Not being able to speak much French, I understand just about as many lyrics from the exquisite french band ‘La Femme’ as I understand their mind-boggling, hypnotic and seemingly other-worldly style – but you don’t need to speak the language to find out what a truly amazing band they are, you just need to listen.

La Femme are a group totally unafraid of playing around and creating mesmerising sounds. Completely entrancing at the best of times, they are truly one of the best psych-rock bands out there at the moment. I’ve often found myself sitting on a train listening to one of their songs and totally losing all attachment to reality, like the world around me is melting away between my fingers – usually, I’m listening to this corker of a tune;

Their debut album Psycho Tropical Berlin is something I keep coming back to on a regular. My year doesn’t feel right without listening to it at least once. Putting on their songs feels like falling through deep space, or one of those heist movie scenes where they gear up and put their plan into motion… I thought this edit perfectly describes listening to this particular song, however, TWM does not endorse drug taking of any kind, unless that drug is La Femme.

Everyone loves a good psychedelic punk band, but La Femme are something else. Heavily influenced by bands such as Velvet Underground, guitarist Sacha Got and keyboard player Marlon Magnée formed La Femme in 2010 then released their first two EP’s to high national and international praise.

Since the band’s beginnings in Biarritz in the South of France, nine people from cities across the country now form the band’s lineup today.

Last month, the band released their brand new single ‘Paradigme’, along with a message for their fans; “Paradigms vanish, masks come off. From now on, nothing will be the same anymore.”

The band also released this truly captivating video quite unlike any we’ve seen from them before:

With a bold new image and brand new ideas, La Femme have set out to re-brand themselves for a new era. The announcement of their partnership with IDOL digital distribution and the promise of an upcoming album means we’ll be keeping a close eye on La Femme and are looking forward to our brains being melted once again by this truly remarkable group with a surprise around every corner.

Listen to La Femme on Spotify now.

Categories
Indie/Indie Rock Punk/Rock Why We Love

Why We Love: Courtney Barnett

With albums like IDLES ‘Ultra Mono’ and so many other spectacular artists from the same vain currently dominating the UK charts, it’s safe to say we could be on the very edge of a new era for music and the true revival period for 80’s grunge. If hearing this makes you jump for joy, then the songs of guitarist Courtney Barnett from Melbourn are certainly ‘must-haves’ on your playlists.

After first hitting big on the underground rock scene in 2012 with her self released EP, ‘I’ve Got a Friend Called Emily Ferris’, Courtney Barnett has since grown to become one of the most talked-about rising modern rock stars of today. After two studio albums and a host of incredible singles, Courtney has earnt phenomenal praise and worldwide recognition for her garage rock sound and muddy ’90s style. This is an artist who certainly never disappoints and a woman who truly embodies the spirit of ’90s MTV Nostalgia – talented AF, cool as hell, she might just be the Kurt Cobain of her generation.

Home-made and humorous, not only does Courtney Barnett produce smashing tune after smashing tune, she continues to amaze us with her terrific funny music videos.

Along with her neutral wit and creative humour, Courtney has brought something we love about music back to the world; a feeling on authenticity, high-school DIY band vibes and a persona inspired by her classic rock influences. Commonly pictured with a Fender guitar around her, the attributes of Barnett’s grunge pioneer predecessors Johnny Marr, John Squire and Thurston Moore are not lost on this extraordinary talent.

Her early experience in music as a guitarist in several garage and psych-country bands still shines through in her music today, both in the melodies and production of her songs and through the southern twang in her slumberous vocal style.

Old school and modern at the same time, one of her more recent tunes ‘Nameless, Faceless’ from her 2018 album ‘Tell Me How You Really Feel’, along with the songs animated video, is very much in the spirit of ’90s MTV and also reminds us of Franz Ferdinand’s ‘Take Me Out’ music video from 2004.

Since the release of her last single ‘Everybody Here Hates You’ in 2019, Courtney has been quiet about any new material she may be working on since Woodstock 50 festival had to be cancelled at the start of the year, but we have seen a great cover of Kev Carmondy’s ‘Just for you’ as well as many great new songs emerging from artists signed to her self-founded record label, Milk! Records.

Courtney has been known to collaborate frequently with other artists, this week she appeared in Wilco frontman Jeff Tweedy’s creative lockdown music video for his new single ‘Gwendolyn.’

We’re dead excited to hear Courtney Barnett come blasting back onto the scene with new material soon, but for now at least we can rest assured that artists like Courtney exist in the world. We can sleep easy knowing that grunge is not truly dead.

Courtney Barnett is on tour in the UK with Nick Cave & The Bad Seeds from April 13th. Get your tickets here.

Listen to Courtney Barnett’s most recent single Everybody Here Hates You on YouTube and Spotify now.