Two years in the making and almost 6 years since their debut single, producer/writer Luke Hester and singer/writer Lucy Hill bring a new weight sonically with their debut album Overflow, depicting a new kind of freedom for the duo – from managing and coming to terms with mental health problems to experiencing love in all its forms despite them.
With eclectic influences ranging from electronic acts including MOVEMENT, Autechre and Burial to the lyrically poetic works of Florence + the Machine, Radiohead and The National, Dahlia Sleeps shift seamlessly between genres; from dance to electronic to pop.
Across the album's track listing, Dahlia Sleeps have collaborated with Jacob Oak Welsh (drummer/producer from The Hics), cellist/bassist/guitarist/pianist Mat Roberts, and pianist Edward Cross.
Speaking more on the upcoming album, the band said: "The title Overflow was chosen because this is a record that features a lot of struggle, fight, bravery, will, hope, and ultimately, triumph." Early on in the writing process for the album Lucy battled a severe episode of mental ill-health, which strongly influenced the direction of the record. “What we have now is an album about entering the very depths of despair, those who hold us when we’re there, and climbing back out again”, Lucy said of the record.
'Right Back Again' is a heartfelt ballad that refuses to sit quietly: with its piano-rock style, raw, impassioned vocals and a compelling chorus that swells with emotional poignancy. The lyrics grapple with love and loss; as mind over matter proves to be a futile exercise... The sincere emotion is perhaps the most surprising facet of this song from a singer-songwriter that is mostly known for satirical social commentary.
Tavener states that this song in fact came from personal experience: “This song came very naturally to me. I think a lot of people can relate to that feeling of losing someone, and trying to rush your recovery when your heart and mind are continually being taken back to memories shared with them”.
The minimal production by Aron Bicskey really allows the song and Tavener's vocals room to breath. The driving drums and upright piano make the track seem determined to move forward, while there's an emotional fragility put forward by the ethereal sounds and an almost Americana-feel to the sparingly-placed electric guitar.
The single is the second from Tavener's upcoming EP 'Easy Ways To Be Happy'. The ironic title seemingly commenting on society's increasing fixation towards a quest for happiness. The new pop-rock, five-song EP will be released in the middle of this year. Jangly-guitar rock and a biting sense of humour meet in the satirical stylings of Chris Tavener. A deft lyricist with an acerbic wit, Tavener writes his storytelling songs from the perspective of flawed characters that he draws from 21st century life.
His cynical social commentary, dressed in punchy, uplifting pop-rock and acoustic ballads has won him acclaim from BBC 6 Music and multiple BBC Introducing stations. He's popular for his unique and theatrical live performance that has seen him sharing the stage with Super Hans, Emily Capell, Tony Hadley, and Peter Hook of Joy Division, whilst also writing songs for the likes of Sir Ian McKellen
Folk singer-songwriter J. Nicolás has released his latest single, "Lost + Found." The new track reflects on a love he feels is being lost and ponders the possibilities for revival. “Lost + Found” is being released alongside a studio performance music video, which can be viewed on YouTube. The single is available to be streamed on digital music platforms worldwide.
With a combination of picturesque lyricism, layered guitars, and raspy, inviting vocals, J Nicolás skillfully tells the story of losing a love and longing to rediscover it. Nicolás took inspiration from his life, past dreams, and memories to create a compelling song about finding something to hold on to in trying times. "’Lost + Found' was inspired by a couple of things: I've had this recurring dream since childhood, where I fall into a dark hole and encounter a witch," Nicolás explains. "It's a tribute to someone who has helped me find myself & encouraged me to be vulnerable as a means of finding my way out of that hole — often just by merely being in their presence." The accompanying music video displays Nicolás performing his newest track live in an intimate and warm setting. Nicolás produced and mixed the track at The Hallowed Halls & Mission Mountain Recording Co. with Allen Hunter on bass, and Joe Mengis on drums. “Lost + Found” was mastered by Amy Dragon at Telegraph Mastering.
J Nicolás has been involved in the indie rock scene for over 20 years, and only recently began his solo career in the folk area, gaining a fanbase in both genres. He has toured all over the U.S. and has played internationally with a copious amount of musicians. Nicolás' first album Wild Oak was released at the end of 2021; with 10-tracks, he dives into his journey of self-discovery and uses poetic lyricism to make a mark on the folk genre. His upcoming sophomore album, A Rosary of Bone, will further tell his story of introspection and focuses more on his darker times, leading to his ability to overcome hardship. "Lost + Found" is a message about finding hope even when there is none to be found.
Together Alone is the name of the debut album by Lena Minder, which is about loneliness in relationships. In March 2020, her plans to move back to Switzerland were thwarted by the pandemic. Instead of finding her way back to her roots, she embarked on an inner search and confrontation with herself in isolation.
In her memories, Lena revived past relationships and critically questioned them. She began to put these thoughts into songs and tells with melancholy, nostalgia, but also a pinch of irony about the complexity of interpersonal existence.
The album contains eight songs, some of which are stylistically very different from each other. The beginning is made by the reduced, folky waltz song «Stay Around», which stands out for its sophisticated vocal arrangement. «Stolen Love» or «One More Time» can hardly be assigned to the indie folk genre. They contain elements of soul and gospel and backing vocals reminiscent of the 30s. With the title track Together Alone Lena Minder bids a brilliant, almost anthemic farewell to the journey - time to let go and time to move on. Sometimes you're less lonely alone than as a couple.
Australia’s Christine Tarquinio release’s inspiring new pop single, ‘Falling Free’, available on all streaming platforms on Friday 25th February 2022.
‘Falling Free’ highlights the wonderment of life, love and everything in between, via an instrumental soundscape filled with resonating guitar lines, lush strings and a beat that is sure to have you grooving, combined with the hauntingly ethereal and captivating vocals of Christine Tarquinio. It’s a song that will motivate you to take chances, despite the fear of failure.
“I wrote this song just with an acoustic guitar and it was very introspective as we were in one of our many lockdowns. I wanted to express how I was feeling at the time. The song was very easy to write and came together over a number of weeks.” Christine Tarquinio
Working with Producer, Joshua Hennessy of Pivotal Music Melbourne, during Covid-19 lockdowns, the pair were required to adapt their process, working through the process remotely. Melbourne, Australia based singer/songwriter, Christine Tarquinio has a passion for turning the experiences of life, into a creative, storytelling musical journey, inviting listeners join her for the ride.
Having released her first single, ‘Didn’t Even Try’ in 2014, and now with seven singles and an EP under her belt, Christine has spent the years exploring the unlimited possibilities of her creativity and the freedom potential of her music, both as a solo act and in collaboration with other artists.
At a time when subgenres threaten to overwhelm, Sound&Shape make pure, unfettered Rock N’ Roll. Exploring every corner of stylistic possibility within that context, S&S’s songs range from the heavy and fierce to the soothing and gentle. Frontman/songwriter Ryan Caudle’s voice can easily lull you into a false sense of security, only to have his guitars come crashing in alongside drummer Ben Proctor’s herd-of-stampeding-rhinos drumming and bassist Pat Lowry’s soul rumbling low end.
Over the course of several self-released records and relentless national touring, Sound&Shape have honed a sound both familiar and forward thinking. With enough hallmarks of the rock n’ roll history book in which they are descendants of, they honor their heroes alongside a healthy dose of eyes-to-the-future originality. Currently, Sound&Shape has amassed a mountain of new material which they look forward to bringing to the masses for many years to come.
Always striving to expand as much as possible in all directions, the band’s new album, Disaster Medicine, melds the infectious melodies of their previous work with simultaneously the heaviest and most layered, atmospheric work of their discography. Nestled in the heavy riffing and huge choruses lie some of the most personal and heartfelt lyrics of Sound&Shape’s career, supported this time not only by the core instrumentation of guitar, bass and drums, but for the first time by synths and more carefully orchestrated backing vocals.
Sound&Shape has performed at Midpoint Music Fest in Cincinnati, OH (attendance approx. 30,000) as well as shared stages in support of notable bands such as Sparta, King’s X, Fishbone, Crobot, John 5, The Spill Canvas, Tremonti, Jeremy Enigk as well as many tours on their own.
“Answer me this, are you happy?” So sings the online life coach in Chris Tavener's pop-rock satire song for the Youtube generation.
In a modern world often focused on fostering dissatisfaction, 'How To Truly Win At Life' is a song brimming with ironic humour, and soothing melodies hiding a darker truth.
It was written during the difficult era of UK Covid lockdown, when Tavener observed a new influx of online adverts from laughably brazen, so-called life coaches hoping to take advantage of the depressing times for financial gain. The almost surf-rock sounds with a powerful infectious chorus take you away to a tropical paradise, as the exaggerated lyrics speak of a dream lifestyle.
The incredibly uplifting, guitar-fuelled energy in 'How To Truly Win At Life' is matched with subtle minor undertones of deception afoot. There's an epic instrumental arrangement that creates a musical playfulness akin to Randy Newman or Elvis Costello, with a rousing choir and buoyant guitar riffs.
The single is the first from Tavener's upcoming EP 'Easy Ways To Be Happy' that focuses on millennial frustrations and modern measures of success. The new classic-rock-influenced, five-song EP will be released later this year.
Danish four-piece Kindsight make music that draws from 80’s and 90’s alternative rock and combines it with the shimmering Scandinavian pop that the region has become so renowned for, resulting in a sound that is both fuzzy and melodic in equal measure. Releasing their first material in 2020, the up and coming Danish four-piece have been quick on the rise, picking up steam with a series of new singles over the last 18 months. Now, they are announcing their debut album, Swedish Punk, will be released on March 25th, 2022. New single Sun Is Always in My Eyes is out now alongside a DIY video made by the band.
Kindsight formed when front-woman Nina Hyldgaard Rasmussen and guitarist Søren Svensson bonded over a shared love of The Sugarcubes. They went on to recruit bass player Anders Prip and drummer Johannes Jacobsen and over the past few years have earned a reputation within Copenhagen’s thriving indie scene for their exciting live shows.
On the album’s title, Rasmussen says “Swedish Punk’ was an off the cuff term our producer, Adam, came up with when we needed a working title for a new song we wrote during the recording sessions. Our bass player, Anders, then wrote some lyrics based on the working title and we ended up liking the whole ‘Swedish Punk’-thing so much it became the name of the album”.
There’s a real coming of age charm to Swedish Punk. ‘Don’t You Grow Up’ was the first song the band ever wrote together. Written in “a time when we thought to be a sunny teenage rock band, you had to write songs about teenagers in the sun,” they say. Atop jangling guitars, Rasmussen’s distinctive voice dances somewhere between that of Mazzy Star’s Hope Sandoval and Alvvays’ Molly Rankin, leaving the listener drenched in the nostalgic optimism of summers gone by. Lead single ‘Sun Is Always In My Eyes’, an unrelenting indie-pop earworm, continues in that same vein. Recalling a time when life was carefree, the band say the track is about ‘stealing money from your mother and feigning to run away from home. Being blessed and unable to see because you've got too much sun in your eyes’.
Christine Sweeney has one of those rare voices that makes you stop whatever you're doing and pay attention--and she's got the songwriting, guitar, and bandleading chops to back it up, everywhere from a packed, sweaty rock club to a hushed listening room. I've seen it before: literally everyone in a place will turn their heads to see who's at the mic.
To her, the R&B vocal influence isn’t unnatural in settings ranging from hushed folk stages to full band rock shows. Her music reminds her fans of Susan Tedeschi, Brandi Carlile, Sheryl Crow, KT Tunstall, or Grace Potter with music that grooves and rocks but also reveals her story.
Her new album Heart In a Hurry, out April 22, generously dashes blues, pop, Americana, folk, and yes, R&B, in sharp, open-hearted songs, some drawn from hard-earned life lessons. The message has connected with her fans; she’s had people approach her after concerts to tell her hearing her song helped with something they were experiencing. Even when telling a deeply personal story, Christine has the ability to tap into universal feelings. Heart In a Hurry tells a tale of perseverance.
Musically, the album ranges from the rolling soul music of “Feeling So Low,” the message of self-love hidden in the howling blues of “Coyote,” the catchy character studies of “Denial,” full-on New York rocker “Do You Have To Go?,” and the swinging, grin-inducing “Better Parts” (out as a single March 22). In the cathartic, crashing “Down to The River” (single out April 5), she imagines a car driven off the road and into the water and the lightning-strike thoughts that would go through one’s mind. In the heart-rending “Anywhere, Anyway,” she powerfully likens the relationship to taking turns treading water.
Twain releases a new song “King of Fools” with songwriter Mat Davidson sharing that “The premise of this song is that evil is a numbness; it wonders if numbness is worse than pain.”
Under The Radar premiered “King of Fools” yesterday, calling Twain “a songwriter of uncommon emotional weight” and elaborating, “Davidson fully inhabits the role of the prophetic folk troubadour, exploring the evils of past and present with warm pastoral melodies and raw emotive vocals. He ends the song with a poignant indictment of humankind’s everlasting greed一Now I watch the fighting over the womb of the earth / Spilling blood for proverbs that they neither side have learned / And I see a bunch of children fighting over toys / How long must they die and die and die / To satisfy the king of fools?”
Mat Davidson is a prolific contributor to beloved projects including Big Thief, whose latest album Dragon New Warm Mountain I Believe in You features Davidson on six songs. He's also a current member of Buck Meek’s band. Davidson is a former member of The Low Anthem, Spirit Family Reunion, and The Deslondes and has toured as part of Langhorne Slim and Courtney Marie Andrews' live bands. He made his label debut as Twain with Rare Feeling in 2017.
The album was aptly hailed by NPR as "at once human and otherworldly,” by Consequence of Sound as “devastating, delicate, meditative” and by UPROXX as “cosmic folk, bright and sparkling, but with all the caterwauling and rough bits that the most stoic traditionalist might desire.” Twain's music resonates a transcendental weight, his performances reliably noted as raw and intensely emotional. More to come from Twain in 2022.
Background - After causing a minor buzz amongst the indie music community in late 2016 with their debut single “Oh My Love”, Perth Indie-Pop act, Corniglia, have released their follow up single “I Don't Know What To Say”. With their dark indie pop being likened to Radiohead, Beach House, Tame Impala, The Sleepy Jackson and Warpaint, the band’s new release (recorded in the Irwin’s home studio and mixed and mastered at Bergerk! Studios) is an infusion of bubbling melody overflowing from underneath it’s lo-fi production. You can almost feel the tension between the introspective chilled delivery and what is trying to burst through between the lines. It is equally looking back at past personal and current world issues with an understanding smile and a muted scream. The accompanying stop-motion animated music video, similarly beautiful and well-crafted, gained as much attention as the debut single, so be sure not to miss the follow up animated effort. With Happy Mag recently naming Corniglia as one of their five Western Australian bands to watch, keep an eye out for their upcoming full length release and what the rest of 2017 has in store, website here, Facebook here.
Dark indie pop seems a pretty apt description for 'I Don't Know What To Say' which has a haunting feel to it. The melody is seemingly less important, with atmospheric rhythmic vocals driving the song forward above a delicious guitar lead soundtrack.
Background - Collapsing Scenery shares their new video "Tired Blood" (dir. by Hunter Crowder). The band's Reggie Debris explains that the track is about "the fatigue and exhaustion that can set in after years of activism, when nothing seems to change or things seem to get actively worse." Collapsing Scenery’s music and creative process represent the world as the band wishes the world were: playful, polyglot, intense, committed, politically engaged, free, open, and without boundaries or hierarchies. The band formed in the terrible autumn of 2013, under a pall of paranoia and disgust, as predator missiles rained on Middle Eastern heads and each day brought news of further surveillance of innocents and more aggressive pursuit of those who had the nerve to inform us about it. Against this backdrop, erstwhile collaborators Don De Vore and Reggie Debris put aside the stringed instruments on which they’d first learned to play music and on which they were comfortable and versed, and assembled an impressive pile of analog electronics: samplers, step sequencers, synths and drum machines, all supplemented by effects pedals usually applied to guitars. From the largely improvised sessions, many accompanied by drummer Ryan Rapsys, the seeds of songs began their germination. Lyrics that Debris had been amassing over years of political rage and frustration began to find their homes when paired with ad-libbed instrumentals. Melodies and cadences alchemically emerged as the words settled into their natural rhythmic patterns. These elements create dizzying music that by turns touches on punk, industrial, techno, hip-hop, free jazz, soul, disco, folk balladry, and whatever other spirits happen to inhabit the recording studio at any given moment. Website here, Facebook here.
'Tired Blood' has a deep beat, synths that tease out swirling sounds alongside a keen rhythm, all of which sits behind some darker vocals and superb samples. At just under three minutes the songs abrupt end surprised me, as I was still trying to figure the video out!
Background - Following on from the April release of their new album 'The World's Best American Band' on Polyvinyl Records, Louisville indie/garage band White Reaper have announced a short run of EU/UK tour dates for this October. A new video for the acclaimed single "Judy French" has just emerged too. White Reaper's standout single "Judy French" off their critically acclaimed and overall monster of an album, The World's Best American Band, gets the video treatment it deserves. Directed by Brandon Dermer (co-creator and director of the forthcoming Viceland show, What Would Diplo Do?), the video stars actress Alexandra Daddario (True Detective, Baywatch) giving the song her best arena-rock performance. Live dates are listed on Beehive Candy's tour news page, website here, Facebook here.
Feisty full on rock riffs and some equally strong vocals ensures 'Judy French' arrives in style albeit well and truly in your face. It's a natural punk orientated song, where attitude & power compete for attention (& get it!).
Background - Chris Tavener is the satirical, comedy folk act talking about what everybody thinks, but nobody says….a quirky combination of Tim Minchin meets Bob Dylan, or Flight of The Concords meets Paul Simon. Originally from Northwich in Cheshire, Chris writes storytelling songs about the ironic comedy in everything from drunken romance, celebrity worship, football hooligans and small-town problems. His latest EP “i’m sorrdy bi’m drunnk” was championed by Steve Lamacq (BBC 6 Music) who aired the tracks four times.. In 2016, he took on two nationwide tours visiting 10 cities over 6 weeks; the success of which led to a stint at The Edinburgh Fringe Festival and a second nationwide tour; performing a total of 351 gigs. His latest single ‘Faking Cool’ sees him throw on some dark shades and plenty of leather (probably fake) in a song that looks at those people in society that are just too-cool-for-school. As the hilariously entertaining music video shows, it’s actually quite hard work being friends with someone who constantly pouts and struts around like they own the place. What does being ‘cool’ really mean? One man’s cool may be another man’s ‘Faking Cool’. Chris is making an art out of catchy comedic tunes with clever lyrics and it’s no surprise that his popularity is soaring with fans raving about his live shows. Facebook here.
My personal take on comedic songs is that they are either very good and easy to listen to over and over, or one off jokes that are never quite the same on a second listen. OK I know that's a sweeping generalisation and 'Faking Cool' is definitely in the latter camp, more satirical (or tongue in cheek) than full on humour. It's also actually a very catchy song where fine music and attractive vocals are centre stage.
