Quality Not Quantity: Candi's Dog - Bryde - Ebbot Lundberg & The Indigo Children

Candi's Dog - A Light Has Gone Out.

Background promo - Tyneside trio Candi's Dog specialise in acoustic Folk-Pop, combining inventive structures with ludicrously catchy melodies in the essential “A Light Has Gone Out”, released Friday 25th November 2016.

“A Light Has Gone Out” demonstrates Candi’s Dog at the very top of their unique Folk-Pop game with crisp, upbeat melodies and warming harmonies generously supplying a comforting air of familiarity whilst simultaneously providing a fresh take on the Folk-Pop genre. With crystal-clear tones combined with bucket loads of untouchable sincerity, the resulting mash-up is akin to the likes of Bright Eyes and Fleetwood Mac along with the lyrical qualities of Ed Sheeran and Bob Dylan.

It’s just too damn hard not to like these fellows as audiences have been finding out. After supporting The Sons Of Pitches, winners of BBC TV’s ‘The Naked Choir’ on their sold out shows earlier this year, Candi’s Dog are back by popular demand, well and truly winning over the masses and utterly depleting their CD supplies in the process.

Favouring the DIY approach, Candi’s Dog have not only opted to make their own instruments but after being left with underwhelming results at the hands of recording studios, the band have taken to home recording. The decision has clearly paid off with the brilliantly catchy single “A Light Has Gone Out” fresh off the production line, showcasing the song craft of twin brothers, Matthew and Daniel Slee, and Stephen Justice. Facebook here.

We featured Candi's Dog back in February this year. 'A Light Has Gone Out' continues to demonstrate that their take on folk pop based music, is both enjoyable and imaginative. The track reminds me in part of one well known South East London band who have structured songs along these lines in times gone by, consider that a complement albeit I won't squeeze readers, as to whom I refer.

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Bryde - Wouldn't That Make You Feel Good?

Background - Following up from rabble stomper ‘Honey’, London artist Bryde reveals a second track from her upcoming EP. ‘Wouldn’t That Make You Feel Good?’ channels an intimate woosy blues dynamic with an injection of a towering guitar episode bearing the indelible stamp of Bill Ryder-Jones. Such dynamism shows Bryde pushing boundaries emphatically, exploring a grittiness now becoming synonymous with her songwriting.

Since setting out as Bryde, Sarah Howells has proven herself to be one of the most singular vocalists and songwriters in British indie rock. She’s a powerful projectionist with a tonal range that will likely see her drawing a few comparisons to her international axe-wielding peers Angel Olsen, Mitski and St Vincent. With additional overseas artists such as Whitney, Julia Jacklin and Big Thief enjoying a speedily growing audience, Bryde is without doubt a key UK based voice in this space as she continues to build momentum around an unmistakable offering.

Praise for the Welsh songwriter has been well-bestowed from outlets like Consequence of Sound, The Line Of Best Fit, Nylon, 6Music and Radio 1. EP2 is to be released on the 4th of November via Tipping Point Records and having recently played her biggest London headline show at The Courtyard (Shoreditch) Bryde now heads out on tour around the UK. Website here.

Tour dates:
13.10 – London, The Courtyard Theatre
01.11 – Brightom, The Hope And Ruin
02.11 – Cardiff, Clwb Ifor Bach
03.11 – Bristol, The Old Bookshop
04.11 – Southampton, The Notes Cafe
06.11 – Glasgow, Broadcast
07.11 – Newcastle, Head Of Steam
08.11 – Manchester, Fallow Cafe
09.11 – Leeds, Oporto
10.11 – Birmingham, Sunflower Lounge
17.11 – Norwich, The Shoe Factory Social Club.

'Wouldn't That Make You Feel Good?' demonstrates the versatile vocals of Bryde, who can switch from earthy and passionately edgy through to softer sweeter vocals within a couple of guitar licks. In fact the guitar and vocal juxtaposition makes this one very interesting and likable song.

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Ebbot Lundberg & The Indigo Children - Backdrop People.

Background - Ebbot Lundberg & The Indigo Children drop new album ‘For The Ages To Come’ in the UK, December 2nd. Most well-known as the charismatic former Soundtrack Of Our Lives (SOOL) and Union Carbide Productions frontman, Ebbot Lundberg is finally set to unleash his first full solo release in the UK. Having teamed up with Grammy-nominated band The Indigo Children ‘For The Ages To Come’ will impact December 2nd. Self-produced and recorded throughout last year in his native Gothenburg, the album is over-flowing with Lundberg’s trademark ear for melody; ‘For The Ages To Come’ is the musical odyssey we have come to expect, but has its roots firmly planted in the 1960s beat movement, with lyrical themes and hooks to match.

Witness the effervescence of ‘To Be Continued’, or the raucous pop stomp that is ‘Backdrop People;’ this is clearly an album overflowing with energy and vigour, a vibrancy that Lundberg was keen to capture on record. “The Indigo Children actually supported SOOL a few years ago,” explains Lundberg, “They astounded us with their sheer energy. When it came to deciding who I wanted to work with on this record, there was only one option in my mind…” ‘For The Ages To Come’ represents the first solo release for Lundberg since the epic 43 minute long song ‘There’s Only One Of Us Here’, and to mark the occasion, he is set to play songs from the album at a headline show in London Upstairs At The Garage on December 4th.

It is clear the album represents the beginning of a journey for Lundberg; “This represents where I am, and where I am going. It is the first album, but certainly not the last.” In fact, Lundberg’s creative output shows little sign of abating; whilst already writing songs for the follow-up album, he is also collaborating with members of Spiritualized and legendary Nirvana producer Butch Vig on a project to see the light of day next year. For Ebbot Lundberg, it is clear that age is a barrier to neither creative output nor excellence; for that we need only witness ‘For The Ages To Come’ as living proof.

First taste of the forthcoming album and 'Backdrop People' is a genre mash of feisty folk rock vocals set against something of an alt or maybe indie rock background. Full of chord changing hooks and growing in power as the track unfolds, it's a total tease for what's to follow.

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Saturday Four: Candi's Dog - Ellie Dorman - Salt Cathedral - Witching Waves

Candi's Dog - I Couldn't Ask For More.

Background promo - Tyneside trio Candi's Dog specialise in acoustic folk-pop, combining inventive structures with ludicrously catchy melodies. The result is a mash-up akin to the likes of Bright Eyes and the lyrical quality of Ed Sheeran. Creativity isn’t something that’s hard to come by for the innovative threesome who can regularly be seen sporting Melodicas, Kazoos and a homemade Acoustic Bass.

Not content with leaving the ear candy duties to their primary instruments alone (consisting of guitar, bass and percussion), Candi’s Dog add delicious, rich vocal harmonies to their audio arsenal, echoing the melodic vocal prowess of the Beach Boys and Crowded House. The satisfying suggestion of pop along with their folksy-rock feel results in their sound igniting a feast of welcomed familiarity, allowing the band to become part of your inner soundtrack with obliging ease.

Favouring the DIY approach, Candi’s Dog have not only opted to make their own instruments but after being left with underwhelming results at the hands of recording studios, the band have taken to home recording. The decision has clearly paid off with the brilliantly catchy single “I Couldn’t Ask For More” fresh off the production line, showcasing the song craft of twin brothers, Matthew and Daniel Slee, and Stephen Justice. Set for release on Monday 29th Feb the upbeat “I Couldn’t Ask For More” is taken from the band’s debut album out later this year.

There is no shortage of folksy music these days. With 'I Couldn't Ask For More' the emphasis is towards pop, with a natural acoustic feel and some very good harmonies. Whether it's reminiscent of others is pretty much irrelevant, in part it has to be, what matters is that this is a great song, both in substance and performance.

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Ellie Dorman - October.

Background promo - Music has always been a big part of my life and impossible to ignore; from a young age experiencing folk festivals to classical music at college to working with bands in clubs and venues across Europe and beyond.

Being constantly surrounded by musical influences I've always felt driven to write my own songs, from experimenting with my own adapted versions of classic folk songs on the piano to playing around with drum and bass beats on logic.

Eventually full of inspiration and broad collection of sounds, I became more serious about wanting to produce a sound that people will appreciate and like as art sharing my experiences of life through my own music.

'October' is the first of four songs on the debut EP from South East London based Singer Songwriter - Ellie Dorman. Talk about setting the bar high, this is a rich and vibrant collection of songs. Musically we are spoilt with an eclectic choice of sounds and instruments whilst vocally Ellie's singing and interpretation pulls everything smoothly together.

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Salt Cathedral - No Ordinary Man.

Background promo - “No Ordinary Man” is the new single from New York-based Colombian producers Nicolas Losada and Juliana Ronderos as Salt Cathedral. Coming in advance of their full-length debut, and following on the heels of "Holy Soul," lead track off 2014’s Oom Velt EP, No Ordinary Man is a hip-hop and soul influenced ballad that speaks about love, the need for reassurance, the fear of letting go and the desire to be extraordinary.

Recorded in Williamsburg’s Bunker Studio, Salt Cathedral’s plaintive new single signals the continued development of th electronic tenor and danceable eclecticism that has defined their sonic trajectory. Through their collaborations with producer/musician John Davis (Jojo Mayer’s Nerve) they achieve a recording where every detail of the sparse arrangement pulses with heart rending clarity. Understated and achingly beautiful, “No Ordinary Man” is the duo’s most mature and affecting song to date, as well as a bold & sure footed précis for 2016, their forthcoming full length, and the remarkable evolution of their new meaningful sounds.

Salt Cathedral is the electronic project of New York based Colombian musicians Juliana Ronderos and Nicolas Losada. Their music combines elements of trip-hop and ambient genres with folkloric influences from many cultures. The band's most recent record, Oom Velt, was released in 2014. "Oom Velt," makes reference to the individuality of experience – the discrete "worlds" as they are experienced by different organisms. Guardian UK, in their coverage of the EP's lead single "Holy Soul," describes Salt Cathedral as "purveyors of breezy electronic pop with lightly tropical rhythms and deathlessly pretty vocals’’.

'No Ordinary Man' is a soothingly good electro pop song, with a huge helping of soulfulness. It's no wonder they have been noticed both sides of the Atlantic, with music and singing this well crafted, it's a simple case of 'more please'.

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Witching Waves - Pitiless.

Background promo - The winners want us to believe the world is beautiful, but Witching Waves has seen the world and knows this is a lie—that everything is lost and nothing is to be trusted. We (HHBTM Records) saw them open for Eureka California in the UK in late 2014 and could not get the songs out of our head so we’ve jumped on the second album.

Emma Wigham, Mark Jasper, and Ed Shellard are Witching Waves, and they sound like exiles in their own country. And like all exiles, they know the only safety is in numbers, and the only comfort is in friends. Witching Waves come from a world of DIY and co-operation. Mark Jasper works at Sound Savers recording studio, a love of labour turned into a labour of love in one of the rapidly vanishing not-so-nice parts of London.

Every window is filled with witnesses. We watch the world go by, each of us observing and observed. You can hear them switching instruments, trying out roles. Watching the world fall apart all around them, Witching Waves knows that being right is pointless—the television tells a hundred lies in the time it takes you to speak a single truth, and for every book you read, your neighbour reads none—but the only alternative is to participate in the slow silent psychic death that is mainstream 21st century life.

When ‘Seeing Double’ breaks down towards the end and Jasper starts screaming: See them on the street you ask them why / See them in the car you ask them why / See them on the stairs you say to them / What are you doing here why won’t you leave me alone? You know he’s not going to get any answers, but he isn’t there for answers he’s there for the screaming.

Because this music is rooted in UK DIY and the only alternative to the clean smiles of 21st century surface life is dirty frowns, you might hear the fuzz, the flattened shouts, and think you’ve heard it before, but then you notice the guitars at the end of ‘Red Light,’ how they swell & buzz like an attack of locusts, and the oceanic rise & fall of album closer ‘Flowers’ and you realize that in their endless explorations of black & white, WW has created a universe of infinite textures and shade.

Witching Waves "Crystal Cafe" (HHBTM USA / Soft Power UK) - Release date: February 26th, 2016.

Taken from the forthcoming 'Crystal Cafe' album, 'Pitiless' is one of those cut to the chase songs, that sets out it's agenda within seconds. The song has an instant punk feel to it, although it is far more than that. Vocals are buried in the mix, occasionally rising and pulsating along with the instruments. It's a contradiction, both raw and yet refined.

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