Tag: new music

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

Why We Love: The Orielles

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.

Listen to The Orielles on Spotify

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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
Indie/Indie Rock

Hidden Gems: Montoya – On The Hill EP

Sometimes, bands will only stick around for a short time. They release an album, an EP or maybe just a single before dropping off the radar completely. But I don’t believe that should stop people from discovering and sharing the songs they made.

And sometimes, bands will even ‘break-through’ years after they’ve split. In the case of Indie-Pop band Montoya, they very well did.

I first discovered their EP ‘On the Hill’ after their one and only music video, directed by Damien Bonnaire, gave them big exposure on Vimeo back in 2016. Instantly gripped by their uplifting melodies and stunning vocals, I have since remained a loyal fan of Montoya and their charming sound.

The next few years, I very eagerly awaited to hear more tunes from the Parisian band, but it now seems that day may never come.

I read up on them recently, just to see what happened, only to find that their social media had gone quiet and their website had been taken down.

I reached out to them via email hoping to find some answers, but their mailbox no longer exists.

After some digging, I found the Instagram profile of the band’s guitarist, Hugo Rattoray, who told me the band had split due to each member’s prior commitments.

After years of hope, this was terribly sad to hear, especially from such a promising band, but an understandable reason nonetheless. Sadly one of the biggest reasons most bands today don’t last long is that at the end of the day, whether your music is good or not, you still have to pay the rent.

Unless you’re a student nowadays or have bundles of time on your hands, putting a band together and managing to hold down your life at the same time is more arduous now than at any point in the last 50 years.

Part of the reason so many great bands from the ’70s and ’80s were able to do so well (in the UK at least) was because at a time of such high unemployment, there was f*** all to do.

I worry now that after the recent pandemic, with so many venues being forced to close, that it may have become near impossible for small bands to get by. Not to mention with a sharp decline in job security, some people might see that time spent writing songs is not worth their while. It’s a shame when you imagine how much great music will be lost to the world because of this.

As for Montoya, I feel somewhat strange writing about a band whose music always ends up back on my playlist year after year, but who I hardly know anything about.

It was great chatting to Hugo, who assured me that the previous band members were all still working on their own solo projects, including singer Cécilia Bonnet, the incredible voice behind their songs. Montoya’s first EP will foreseeably be their last, but one I will certainly still be listening to for a long while to come – and who knows, maybe one day this group with so much talent will crop up again under a new name with more great tunes to give the world.

Listen to Montoya’s EP ‘On The Hill’ now.