Natalie Bouloudis returns with her third single 'Coal' taken from her forthcoming E.P. due at the end of January. We have featured Natalie a few times in recent years and have always been impressed with her distinctive and atmospheric music which this time manifests itself in dynamic alt rock form. ===== Today Lauryn Peacock has released 'Coming Over Me Again' and it's a rhythmic indie rock song where the vocals carry the melody on this catchy track. ===== Red Red have shared their new single 'Long Black Train (Feat: Belle Starr)'. Energized blues rock and fabulously natural vocals and harmonies make this a hook filled piece. ===== Zurich-based, New-York-raised Jonas Blumer aka Safe Upstairs has just released 'Everything Went Away' which is a gritty and addictive song, his vocals and incredible lyrics are highly engaging. ===== The Mahones lates album is self explanatory enough, it's titled 'This Is All We’ve Got To Show For It – The Best of 30 Years'. Lovers of Irish punk and Celtic rock are probably familiar with the band, if not dive in, it's streaming in full below and an absolute joy to listen to.
‘I never noticed the stars before, I always thought of them as great big diamonds that belonged to someone. Now they frighten me. They make me feel that it was all a dream... a form of chemical madness.’ - FS Fitzgerald, The Diamond as Big as the Ritz
Gutsy folk-noir singer-songwriter Natalie Bouloudis returns with her evocative new single Coal, musing on the unravelling of a relationship, through the shimmering lyrical metaphor of diamonds and coal, colliding in a stormy soundworld. Emerging from a sea of haunting reverb and fuzzy blues tones, Coal channels Is This Desire? era PJ Harvey, the cinematic punch of Weyes Blood's The Innocents, and the poeticism of Karen Dalton, whilst also offering Bouloudis’ own unique handling of beauty emerging from the darkness.
Bouloudis sings of hard lessons learnt, soaring from vulnerable to vengeful in tone, through a dramatic gale of gritty guitar arpeggios, brooding rhythms and biting violin. “It’s that moment when reverie dissolves into a nightmare and something which once felt so precious becomes painfully worthless,” she says, reminding us diamonds might be forever but you can't expect the same level of permanence when it comes to matters of the heart.
Coal is the third single to be released from the forthcoming EP Devil Is Doubt, due to be released on 29 January 2021.
Lauryn Peacock announces her first single in five years, “Coming Over Me Again.” Due out December 4, the single elicits phantom memories that resurrect the carefree spirit of youth. The standalone single’s uplifting beat and soaring melodies reintroduce Peacock as an artist ready to fly as she prepares for the release of her upcoming album in 2021.
Peacock wrote the song during the height of quarantine. She says, “All the time alone left me able to think, to really dig into some great memories. At times, they felt embodied, like I was being visited.” An intentional 90s production style captures the hint of nostalgia with vocals tucked into the music in a way that makes you want to turn the song up and up.
The song was recorded in the space where Alabama Shakes created their breakthrough effort. Peacock enlisted co-producer Andrija Tokic (Alabama Shakes, Josephine Foster) and a backing band to include guitarist John James Tourville of The Deslondes, bassist Jack Lawrence of The Raconteurs and The Dead Weather fame, Molly Parden (Andrew Combs, Faye Webster, Liza Anne), and Meg Coleman, known for her other-worldly drum sound.
Lauryn Peacock rounds out the classical training in piano that reaches back into the beginnings of her childhood with 18 years of ballet and French. She toured the East Coast playing synth and organ for Philadelphia’s mewithoutYou and had the opportunity to play with Wilco’s Jeff Tweedy during two house concerts for charity. On her first records she worked with co-producer Daniel Smith (Sufjan Stevens, Danielson Family) as well as collaborated with Denison Witmer (Asthmatic Kitty Records) and composer Joshua Stamper (Sufjan Stevens collaborator, National Endowment for the Arts, MacDowell Fellow). This all contributes to WXPN proclaiming: “Lauryn Peacock has the range of a musician who’s been playing her whole life.”
Coming from the crossroads of Europe, Red Red(USA/BE) is an unlikely cross-pollination between psychedelia, 70s guitar rock, blues and hip-hop turntablism.
Led by an ethnomusicologist and multi-instrumentalist from Ohio, Red Red is formed from the finest musicians from the Belgian roots, blues, and jazz music scenes.
Turntablist DJ Courtasock fills out the lineup, adding layers of sampled sounds from all over the world. Long Black Train, their first single for the NAKED label, puts all of Red Red’s influences together into a sound that is both completely new but still has something for fans of The Black Keys, Howlin’Wolf, Urban Dance Squad and Led Zeppelin. The B-side, the American roots traditional In The Pines, turns the song on its head with sounds and rhythms from North and West Africa.
There's an incredible coolness in Safe Upstairs' new single 'Everything Went Away'.
It's been recorded by Zurich-based, New-York-raised Jonas Blumer: He's the man behind Safe Upstairs. After gaining a lot of attention with his former singles in spring, he now sings about severe topics.
Or to say it in Safe Upstairs's own words: "There are always more than enough reasons to be sad and depressed. Sometimes you just have to be able to press pause end enjoy a couple of minutes without questioning the decisions you made in the past. They were probably all wrong. But that's ok. You will always have your memories of the good old times, as you might call them".
All tracks have been created in Safe Upstairs' own home recording studios.
The Mahones - This Is All We’ve Got To Show For It – The Best of 30 Years.
The Mahones are a Canadian Irish-punk band, formed in 1990 by Dublin-born Finny McConnell, as a one-off band for a St. Patrick's Day party. Encouraged by a positive reception, McConnell decided to pursue the band full-time. The Mahones have released thirteen albums to date with their most recent, Love, Death, & Redemption, being released in 2018.
The Mahones’ music has appeared in several major films. They co-wrote and recorded the title track for the 1996 film Celtic Pride. Their song "100 Bucks" was featured in the 1998 film Dog Park. Their song "Paint The Town Red 2010" was featured in the climactic final fight scene of the 2010 film The Fighter. Their song "A Little Bit of Love" is in the 2011 film Irvine Welsh's Ecstasy.
Heralded as pioneers of the Irish punk scene, beloved six-piece outfit The Mahones, have announced a special 30th Anniversary retrospective, This Is All We’ve Got To Show For It – The Best of 30 Years to be released via True North Records today December 4, 2020.
This comprehensive retrospective captures many special moments with surprise guests on intimate stages over the decades.
Imperial Daze have released 'Centerpole'. We have featured the band a couple of times this year and the latest song reinforces just how talented these indie rockers are. === Silent Forum have a brand new album entitled 'Everything Solved At Once'. Having featured the band a few times I have to say the album lives up to expectations, with the band keeping the interest and intrigue rolling throughout. === Another artist who has been on our radar for sometime isNatalie Bouloudis who today shares 'Outlaster' a moody, atmospheric and addictive song. === West Wickhams today release 'He's Acquired A New Face' the a side of two impressive, distinct and hook filled songs. === With a new album scheduled for April next year M. Ward creates anticipation with the first taste entitled 'Migration Of Souls'. === Comprising of four songs Oliver James has released 'The Hardest Part' an E.P that takes in folk, indie rock, psych and mixes it all up beautifully. === Thom Sawyr shares 'Help Me Out' a striking song with wonderful vocals and a musical arrangement that adds even more. === Teeniest new song 'Set Me Up Boys' is simply gorgeous, with a fabulous choice of musical instrumentation and those warm melodic vocals, that regulars to Beehive Candy should find familiar. === Finally today we have a new lyric video from Sam Weber for 'Probably Not' a refined singer songwriter piece and a taste of next January's new album release.
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Imperial Daze - Centerpole.
And the band tell us... Since forming in 2016, and our first single release in 2017, we’ve released 2 EPs, scored a short film, built own own recording studio in a disused eel warehouse in Tower Bridge, and shared stages around the UK with the likes of The Maccabees, Mystery Jets, Nilufer Yanya, All We Are and Matt Maltese.
Our latest EP, Surfaces Sensibles was released in June 2019 and received a very positive response from UK radio, with singles being playlisted on Radio X and Amazing Radio as well as receiving a multitude of spot plays across the BBCnetwork and being invited for interviews with the likes of Amy Lame and Guy Garvey over at BBC6 Music.
The song we’re sharing with you now is called Centerpole and is about a dialogue with someone close who is stuck in a loop and struggling with addiction, depression and self-doubt.
In contrast to its heavy subject matter the song itself is an up-beat, groove based crooning number, as equally indebted to 90’s US hip-hop as it might be to Lee Hazelwood or Toro Y Moi.
4-piece Silent Forum are a contrary bunch. Cardiff dwelling but lacking the quirky and often dulcet left-of-centre pop of their Welsh contemporaries, Silent Forum instead offer up a much edgier angular noise, perhaps more representative of the gritty streets of London from which they originally came.
Yet Silent Forum’s sound isn’t straightforward. It’s a textured, technicoloured trip that separates it from punk’s three chords or post-punk’s monochrome doom. Silent Forum have been described, very fittingly, as an “uncouth Talking Heads” (Buzz magazine), sharing a sophistication and playfulness of the latter with “the progressive pop sound of XTC and the new wave idiosyncrasy of Squeeze” (Destroy/Exist). Or as Silent Forum put it, many of their songs are “punky without being punk.” Rejecting both geographical and musical pigeonholing, the themes of ‘Everything Solved At Once’ also veer towards the unexpected. Avoiding cliched break-up or party tracks, Silent Forum’s album is in part themed around a disgruntled office worker, with an awareness of the tongue-in-cheek humour in juxtaposing corporate life lyrics with jagged punk numbers.
One single Spin is an observation of the boredom and misery of the average office worker, whilst Robot offers a character piece written from the perspective of a jaded, stressed and deskbound employee. The bleak lyrics, “I feel a shortage of high pressure in my life/ I need the office chair/ I need spreadsheets I hold dear/ I love coffee, I hate beer”, play out over a merging of 70’s punk and early noughties jangling indie of a Good Shoes variety.
Other songs are themed on Silent Forum’s experience of being in a band, such as How I Faked The Moon Landing, an exhilarating shape-shifting track reminiscent of Simple Minds’ Berlin dance scene inspired new-wave, or more recently The Horrors, Skying-era, whilst taking influence from LCD Soundsystem and The Rapture. Released as the album’s first single in 2018 it ironically picked up a tonne of BBC Radio play given its lyrics: “Music’s not business, we’re destined to be a local band not on the local radio.”
Whilst album track Pop Act is a 6-minute pop song with a deep dark groove, written as a two-fingered response to a DJ who called the band too serious. Elsewhere on the record Silent Form touch on Spanish folk music on Credit to Mark Sinker, with its wonderfully chaotic mix of trumpets, discordant guitar lines, sleazy bass and Flamenco pattern; there’s the “face-melter” Outmoded, a track indebted to David Gilmour’s transition into noise-rock; Safety In Numbers dips its toe into British folk style guitar (curtesy of some Nick Drake influence), crossed with Nu Jazz drumming and a nuanced Johnny Marr guitar jangle; Kind of Blue is jazz inspired with a subtle touch of baggy’s stoner haze; Great Success is awash with The Cure-esque nostalgic melancholy, and album title track Everything Solved At Once is deliberately ‘pop’ with a Samba like break-down. Silent Forum have a special magic whereby their music has echoes of every seminal band you ever loved across every pioneering and forever fresh genre of the last four decades, yet crammed into edgy, enthralling, infectious songs with a fervent originality and unrivalled energy.
There’s a giant tidal wave incoming; the world is in chaos but there is assurance in the cool and defiant vocals of Natalie Bouloudis in Outlaster, the first single to be released in two years by the London-based and Sussex-bred singer-songwriter.
Outlaster is a song for our time, inspired by Bouloudis’ life-long fascination of the dystopian genre, be it Margaret Atwood’s bleak myths of an unreachable paradise or the sound of dripping oil against one of Ridley Scott’s burnt orange skies. Outlaster combines storytelling with a tenacious spirit, painting visions of a not-too-distant apocalyptic future which is nevertheless overcome with strength of character. An ode to hope and reconciliation and a much needed beacon to lead us out of the gloom of 2019.
Outlaster speaks of endurance, Bouloudis sings of ‘savage beauty’, hard lessons and redemption, with directness and lyricism. The song bursts into action with pulsating drums and an urgent glissando bass that conjures up a sense of suspense. The tension continues to rise like a cool mist, with plucked violin dancing across the droning guitar riff before an explosive release into the hook-laden chorus. It is an exhilarating and transformative listening experience, driven by a melody that rises and falls hypnotically like the waves on an energetic sea, and with vocals that soar on each undulating crest, effortlessly evoking reminders of Patti Smith. The song culminates in a spectacular outro, both melodic and imaginative, completing the track’s triumphal arch.
This is an anthem for survival at a time when we are haunted with the idea of extinction. ‘Here comes disaster’ and ‘I’m the outlaster’ Bouloudis sings, in her unmistakably smoky tones, with both a power and a level of control that can only derive from performing regularly. Outlaster offers an atmospheric soundscape, a revelation to anybody who wishes they could hear David Bowie’s Rock & Roll Suicide for the first time again, only this time with a female vocal reminiscent of the lurching tones of PJ Harvey and the soulfulness of Cat Power.
Bouloudis says, ‘what makes the dystopian genre so captivating is how it provides a thrilling and escapist ride full of awe but even more importantly, it holds up a mirror to human nature’. In Outlaster, we are introduced to the themes to be found throughout the forthcoming EP, Devil is Doubt which she says has ‘moments of reconciliation throughout the record’ but just like Outlaster ‘it holds together with a unifying sense of an unbreakable spirit pushing ahead of existential agonies.’
West Wickhams are a psychedelic garage noir duo from the Isles of Scilly, Tresco. Consisting of Jon Othello and Elle Flores, West Wickham’s music manifests itself with such style, the effect is a timeless body of sound. Hailing from Tresco, the island of lost souls, subtropical plants and shipwrecked figureheads, the pair recently relocated to Richmond Surrey, proclaiming themselves an imagined rival gang to punk style icons, the Bromley Contingent.
Their colourful history brings a depth to their sound reminiscent of legendary bands such as The Doors, Blondie and Siouxshie and the Banshees.
However, the band themselves declare their influences largely from sources outside the music industry; Whitby Abbey, Pipe Organs, Flowers, Polka Dot Cats, Dark Punk, Gothic Novels and Rock n Roll Autobiographies, Castles, Abstract Painting, Euphoria, Mist, Autumn, Halloween, Optical Illusions, Edgar Allan Poe and Andy Warhol.
M. Ward has revealed plans for his latest album, 'Migration Stories', to be released on 3rd April 2020 via Anti Records. Captivating first track, 'Migration of Souls' is out now.
A prolific writer, producer and performer, M. Ward has established himself as one of modern American music’s most unique and versatile voices. For his tenth album, he journeyed to Quebec, Canada to work with Arcade Fire’s Tim Kingsbury, Richard Reed Parry, producer/mixer Craig Silvey (Arcade Fire, Arctic Monkeys, Florence and the Machine) and Teddy Impakt. Together they recorded a collection of 11 songs inspired by stories of human migration. Languid, hazy and often dream-like in narrative, these songs have their origins in pictures from newspaper and television reports, stories told by friends and tales from Ward’s own family history. At Arcade Fire’s Montreal studios the assembled talents recorded what he describes as “11 largely instrumental ballads - a sci-fi fast forward to a more silent night many generations from here to a maybe-era where movement is free again.”
Says Ward of the stories which informed these songs, “Some time went by, the stories wove together and I remember them now closer to characters in a dream of how people could treat each other than any kind of front-page news realism. I think music subconsciously - whether writing or listening - is a filter for me. Helping to process all the bad news into something new to build from. Some records to me are like self-fulfilling prophecies - visualizing change to wish something into being. Those records inspired this one.”
M. Ward’s music has always felt intricate, intimate and otherworldly. With Migration Stories he breathes beautiful life into vignettes of human flight, blurring the lines between reality and fantasy as it reckons with a world that feels more divided than ever before, even as its inhabitants grow more inextricably linked by the day. With a rich, emotive croon - which Uncut Magazine once likened to “honey drizzled onto a dry creekbed” - he conveys a huge depth of emotion, captured in the studio, almost entirely on the very first take.
San Diego-based Oliver James creates hushed psych folk pop, falling somewhere between Nick Drake and REM. The singer-songwriter has always been reluctant to follow any trend or singular direction, choosing instead to follow the path of the individual song’s inspiration, rarely treading the same artistic ground twice.
The band was born out a friendship between Oliver and key collaborator Brett Levine, who bonded over red wine, 1970’s television shows and a pervasively satirical optimism. From the start, they have sought out other artists who reflect their creative spirit. Their debut album was recorded at NYC’s Magic Shop with engineer Brian Thorne (responsible for David Bowie’s final albums, Blackstar and The Next Day) and their subsequent releases have all been tracked at San Diego’s Pacific Beat studio with producer Alan Sanderson (Rolling Stones, Weezer, Fleetwood Mac). By 2017 the band was gigging full time as a six piece, replicating their detailed studio productions on stage, while their song streams and video content chalked up tens of thousands of organic streams.
Oliver James’ new EP, The Hardest Part, is a song-cycle about the fragile, darker and uncertain aspects of being in love, and showcases their most haunting, personal and intimate songwriting to date. As Oliver reflects, “As human beings, we’ve all experienced the immense highs and tremendous lows of falling in and out of love. I think these songs speak to all of us.”
The songs are grand in scope and sonic quality, augmented by pedal steel, string orchestra and brass sections. “Good music should give the listener a feeling of belonging and should underscore the good times and sooth the bad times,” James asserts. “And both times are important....Like Brian Eno says, ‘there can be no flowers without fertilizer.”
“Help Me Out” is an acknowledgment that we aren’t alone in this world and, in order to overcome life’s adversities and the challenges that humanity faces we need each other. Together we can make it happen but alone often times it is hopeless. The goal is that we can find the strength in ourselves to be there for someone else in their time of need.
I remember when I wrote the song I was applying it to so many different experiences I had gone through in my life and wanted to try and make it universally applicable to any challenge that requires a helping hand. Transcend your fear, love your neighbor and help someone who needs it. -Tasso Smith (Thom Sawyr)
The brainchild of music executive and singer-songwriter Tasso Smith, Thom Sawyr is a project inspired by frustration with the status quo. After touring with bands like Panic! At the Disco, Walk the Moon, and P!nk, Tasso moved into A&R and creative management where he continued to hone his skills as a songwriter. He now presents Thom Sawyr as an illumination of the strife for a meaningful existence. In a time where music has fallen into the shallow depths of materialism and fame, the EP offers perspective on what music should truly represent.
Acclaimed Canadian singer-songwriter and guitarist, Sam Weber is sharing the new big picture rock’n’roll single, ‘Probably Not’ – this is the latest to be taken from Weber’s third album, Everything Comes True which is set for release in the UK via Sonic Unyon Records on January 10, 2020. Produced by LA-based Tyler Chester (player with Andrew Bird, Joan Baez, Jackson Browne), the new record will be trailed with 2020 UK dates – these to be announced shortly.
Tipping hat to the sprawling guitar sounds of Bruce Springsteen, Alice Coltrane and The Band, ‘Probably Not’ pulls on buzzing riffs and a wanderlust swagger that places itself amidst the vast American landscape, sonically paying testament to the themes of the album. It’s a record well-versed in a road worn wisdom with Weber saying of the new single: “‘Probably Not’ is about driving through the night like one of those fish with the lantern on its head that lives in the deep ocean. You follow the road into the abyss and listen to the radio and thoughts pass through your mind as you drive, contemplating existence, overthinking everything.”
Alongside Weber’s own skill for storytelling and guitar playing, the new album finds the artist borrowing the skills of a heavyweight cast of session players including guitarist, Dylan Day (Jenny Lewis), pedal steel player, Rich Hinman (St Vincent, Cyndi Lauper), guitarist-vocalist, Adam Levy (Tracy Chapman, Norah Jones), trombonist, Elizabeth Lea (Dirty Projectors, Vampire Weekend) and percussionist, Justin Stanley (Prince, Beck, Paul McCartney) amongst a whole host of other names. The stellar roster is further cemented with the Grammy Award-winning engineer, Gavin Lurssen.
Weber, who draws heavily from his experiences travelling across the North American continent, looks to build upon the foundations cast by his recent New Agile Freedom EP, as well as earlier LP releases, Shadows in the Road (2014) and Valentina Nevada (2016). Everything Comes True explores the psychological and physical excursions that come with touring heavily – lyrically and musically painting a vivid narrative of the emotional journeys that come with spending extensive stints away from home, as well as the stories that accumulate.
Amy Milner first release this year is the haunting 'Shine Off' where her fabulous vocals and imaginative electronica come together beautifully. === They may have only been going for a few months however Kar and their new song 'On Our Own' is a refined indie pop song. === It's getting on for two and a half years since we last featured Natalie Bouloudis still her brand new song 'Outlaster', demonstrates that her creative and distinct music remains as good as ever. === Jackie Charles music is described as existentialist dream pop and their song 'Baby' really does fits that description, with the video adding even more. === Our third feature for Ruthie this year is 'No One On This Earth' featuring Drenge, is a rich melodic alt rocker where the dual vocals are just perfect. === CocoRosie have released a brand new song and video today entitled 'Smash My Head'. The sister duo are once again creative and imaginative, the video imagery challenges, whilst the music is as good as anything previously released and with a seventh studio album due next March, they have set the anticipation off splendidly.
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Amy Milner - Shine Off.
‘A Little More’, is the stunning new collaboration between singer-songwriter Amy Milner and producer Tim Larcombe (Lana Del Rey/Halsey). The second track from a stunning forthcoming project, it’s a breathtaking piece of electronica that’s right at home among the likes of James Blake or Bon Iver. The track is accompanied by a visual, created from clips of Amy & Tim’s process recording the album, showcasing the depth and creative flair involved in their artistic process.
First stepping up to the piano at a young age, Amy was soon composing for her school productions at just 10 years old. Growing up, her inspiration came from her parents spinning The Pretenders, Debbie Harry, Elton John and Dire Straits. Fast forward a few years and after a string of releases on South London label Aesop, Amy’s releases went on to receive support on the airwaves from BBC Introducing, Zane Lowe, Elton John and BBC 6Music. Her music also garnered key support from Spotify’s playlist team, resulting in over 1 million streams since her first release in 2016.
Her first release in 2019 was the haunting and affecting ‘Shine Off’, it’s a track that showcased the depth of Amy’s writing ability and the undeniable production skills of Tim Larcombe. The new single ‘A Little More’, is a stunning composition that builds around Amy’s vocal. Making exquisite use of modern vocal effects, it’s a track that’s rich in emotion and conveys a frailty in its lyrics building to an epic piece of emotional electronica.
No matter how adept we might be at putting on a brave face, at showing our mettle and soldiering on when the going gets tough, when the going just keeps getting tougher, when we’re blindsided, with setbacks and obstacles already piled high, that robust exterior can crumble a little to expose the inner struggle we were endeavouring to conceal. “A Little More” describes that inadvertent moment of fragility and honesty. In the song, the subject confesses they are overwhelmed, seeking solace and fortification from someone closest to them.
The scrambled vocal effect echoes the torment of the individual, while the calm and gentle piano part soothes. Stability is offered with the introduction of a sub bass, while guitar lifts the music to meet the vocal line for the initial chorus. The song evolves until its climactic second chorus, with the addition of developing beats and soaring ambient guitar.
Only formed a few short months ago, indie-pop three piece Kar are a young band hoping to make a big impact, and with their second single due for release this month, they’re set to do just that.
Finding a shared passion in similar musical styles, Kar formed after the trio met while studying music at Bath College, going on to perform gigs in the local area, creating a small buzz in local venues.
Kar went on to be accepted onto the MAS Records development scheme, which aims to give young, aspiring musicians free rehearsal and recording time, in the hopes that they can provide emerging artists with a bridge into the wider industry. With patrons such as Robert Plant, Ricky Wilson and Kevyn Gammond, MAS Records has proved invaluable to Kar.
Their debut single ‘Anything At All’ was released in June of this year and was championed for it’s emotive lyricism and catchy melodies, focusing on new love that can grow from the broken remains of an old love.
Recorded, mixed and mastered with Josh Gallop at Stage 2 Studios, their follow up single explores similar themes. ‘On Our Own’, due for release October 30th, is a tender track about how relationships influence life, for better or worse. Their haunting vocals, atmospheric guitars and melancholic lyrics rounds off a charming second single for the group.
There’s a giant tidal wave incoming; the world is in chaos but there is assurance in the cool and defiant vocals of Natalie Bouloudis in Outlaster, the first single to be released in two years by the London-based and Sussex-bred singer-songwriter.
Outlaster is a song for our time, inspired by Bouloudis’ life-long fascination of the dystopian genre, be it Margaret Atwood’s bleak myths of an unreachable paradise or the sound of dripping oil against one of Ridley Scott’s burnt orange skies. Outlaster combines storytelling with a tenacious spirit, painting visions of a not-too-distant apocalyptic future which is nevertheless overcome with strength of character. An ode to hope and reconciliation and a much needed beacon to lead us out of the gloom of 2019.
Outlaster speaks of endurance, Bouloudis sings of ‘savage beauty’, hard lessons and redemption, with directness and lyricism. The song bursts into action with pulsating drums and an urgent glissando bass that conjures up a sense of suspense. The tension continues to rise like a cool mist, with plucked violin dancing across the droning guitar riff before an explosive release into the hook-laden chorus. It is an exhilarating and transformative listening experience, driven by a melody that rises and falls hypnotically like the waves on an energetic sea, and with vocals that soar on each undulating crest, effortlessly evoking reminders of Patti Smith. The song culminates in a spectacular outro, both melodic and imaginative, completing the track’s triumphal arch.
This is an anthem for survival at a time when we are haunted with the idea of extinction. ‘Here comes disaster’ and ‘I’m the outlaster’ Bouloudis sings, in her unmistakably smoky tones, with both a power and a level of control that can only derive from performing regularly. Outlaster offers an atmospheric soundscape, a revelation to anybody who wishes they could hear David Bowie’s Rock & Roll Suicide for the first time again, only this time with a female vocal reminiscent of the lurching tones of PJ Harvey and the soulfulness of Cat Power.
Bouloudis says, ‘what makes the dystopian genre so captivating is how it provides a thrilling and escapist ride full of awe but even more importantly, it holds up a mirror to human nature’. In Outlaster, we are introduced to the themes to be found throughout the forthcoming EP, Devil is Doubt which she says has ‘moments of reconciliation throughout the record’ but just like Outlaster ‘it holds together with a unifying sense of an unbreakable spirit pushing ahead of existential agonies.’
Jackie Charles are three individuals from disparate backgrounds, united by a desire to use art to cope with the dystopian future that is promised to them by the news cycle on a daily basis. They use Berlin as a creative base to formulate this medicinal yet existentialist dream pop.
Fluctuating synths and flickering basslines provide the backdrop to nihilistic lyrics. The result is a gleaming pop anthem that pleads for listeners to have fun while there are still any parts of the world left to enjoy at all.
Their work to date has seen them embark on international tours and a performance at Øya Festival, along with Steve Lamacq and Huw Stephens regularly championing them on BBC 6music.
Kaja tells us that the video is about “how it feels to be on this earth when everything is overwhelming. And you want it all to end but you're also terrified of that thought. And the world is so beautiful, and the world is so ugly and people are so amazing and people are so horrible. The video is full of symbolism and only the brave can watch it all the way through.”
Having previously brought their live show to London for Eat Your Own Ears and Parallel Lines, Jackie Charles are heading back for a show at Sebright Arms with Caramel alongside an in-store at Rough Trade East.
The track ‘Baby’ is taken from their latest album Future Fantasies. Dividing their time between the rooftop bars of Berlin and a Norwegian fishing boat, the record was recorded in Hannover and mixed / mastered at Oslo’s Propeller Studios.
Timeless yet contemporary, lovelorn but hopeful, Ruthie’s songwriting has enamoured a near A-Z of new music websites; gained radio play at Radio 1, Beats 1, 6 Music and BBC Introducing; and been added to playlists including Spotify’s New Music Friday UK and Amazon’s Fresh Indie together with playlists curated by Dazed, NME and DIY. And she’s achieved all of that in the space of just four tracks.
Now Ruthie shares what looks set to be the biggest moment of her career to date with ‘No One On This Earth’, which features Drenge. The track features on her debut EP, the aptly-titled ‘Universal Heartbreak Now’, which will be released on November 22nd.
As an artist with the ability to hone in on the complexities of love and relationships, Ruthie naturally captures the melancholy of a relationship unexpectedly drifting to an end. Her dreamy, plaintive vocal is perfectly complemented by a duet with Drenge’s Eoin Loveless, who also contributes the song’s fuzz-filled psychedelic guitar solo.
“There are so many songs about being in love, and so many songs about when love goes wrong,” says Ruthie. “This song is about the slow dawning realisation that you are no longer in love, no longer heartbroken, no longer in mourning. It’s a duet between two people who used to speak with one voice, but became strangers.
I didn’t write the second part with anyone particular in mind to sing it, but Eoin’s voice fits the song perfectly. He was a joy to work with and spend time with!”
In addition to ‘No One On This Earth’ and the previous single ‘The Tide’, the ‘Universal Heartbreak Now’ EP will be completed by two new tracks in the shape of ‘Singing Alone’ and ‘Twenty Forty Seven’. All four tracks were mixed by Chris Coady (Yeah Yeah Yeahs, Future Island) and co-written with Ruthie’s creative collaborator Ben Lewis.
Today, CocoRosie, the sister duo Sierra and Bianca Casady, announce their 7th studio album Put The Shine On, which will be released March 6th 2020 via Marathon Artists. The follow-up to their 2015 album Heartache City will be accompanied by their one-of-a-kind live shows in March/April 2020, EU dates below. The single “Smash My Head", including a Bianca Casady-directed video is being released today as a taste of what’s to come.
CocoRosie about “Smash My Head”: "For us, our song "Smash My Head" is a running-on-fire cry from the teenage heart, an inner scream we never dared to let out. The song climaxes in an exaltation, an expression of ecstatic death. It journeys from a hard-knock desert childhood scene to a transcendent cosmic passing to another realm.”
CocoRosie is the music-based project of American cross-disciplinary performance artists Sierra and Bianca Casady. Their songs blend a myriad of styles and references, from hip-hop to folk and opera, shaping the most painful of experiences into memorable and evocative pop songs. Taken as a whole, CocoRosie’s music is an ongoing psychologically intimate dialogue between the siblings. Each sister has multiple personae and vocal styles; Bianca delivers troubadourian-style rap while Sierra often responds with ethereal tones while accompanying their voices on harp, piano, or guitar. A quintessential part of their sound is a percussive landscape made using children's toys and other found objects which adds a particular nostalgia to their songs.
Background - Emerald Portal is the brainchild of Thomas Ouziel and Brad Rundblade, two musicians, who at a young age immersed themselves into all aspects of art. As a sound designer and screenwriter, respectively, their music is heavily influenced by their cinematic backgrounds. Emerald Portal seeks to make engaging music that not only tells stories, but transports listeners. Born in Europe, Thomas from Paris, France and Brad from Crete, Greece, both grew up learning how to play piano and guitar. They each spent years playing music before entering the film industry. Upon meeting on the set of a music video in Los Angeles, where the duo currently live, they found they had a mutual interest in creating music and began working on a number of songs. After a period of creative activity they had written enough material for an album. Each song on their first LP, Beyond The Edge of Reason, was a glimpse into different worlds and stories that all culminated into a grander, overall universe. Using their background in film, the duo created music videos for six of the songs from the album. Emerald Portal works in various artistic fields often collaborating with directors, musicians, and artists to expand their vision and sound. They’ve received numerous awards for their music videos (LAIFFA, Orlando Film Festival, Los Angeles CineFest) and have a new EP, Trouble In Paradise ready for release in 2017. The ambitious band is currently working on three separate concept albums, each another glimpse into the many stories populating the Emerald Portal. Website here.
There are a few artists getting a second feature on Beehive Candy tonight of which Emerald Portal are one. 'One Hundred Twenty' is a slick alt rocker, where the smooth vocals are accompanied by an increasingly powerful and atmospheric soundtrack. If they can continue this momentum, I look forward to featuring them a third time.
Background - Americana-singer/songwriter, Joseph Eid has been writing poetry and dreaming of a career in the arts as long as he can remember. He grew up in the suburbs of New York. Raised in a strict and traditional home, the arts were only supported as a hobby and never as a career. During his college years, Eid studied psychology and pre-med. After his first semester at med school, his dream got too big to hold and Eid made the bold choice of dropping out to move to New York City to pursue music. While in New York, Joseph Eid picked up a guitar, joined a band, and the songs poured out of him like rain. His journey then led to Los Angeles where he started playing regularly at open mic nights and showcases. Shortly after, he began working with world-renowned guitarist/songwriter, David Lamar, honing his songwriting at weekly showcases at the Stone Bar. This lead him to write over 30 new songs as well as record a debut EP, Cardiac Output, followed by a full-length LP, Human. Known as a dynamic solo performer, Joseph Eid has brought his one-man live show to many of Los Angeles’ premiere music venues, including stints at Room 5 and El Cid and residencies at The Stone Bar, Crane’s Hollywood Tavern, and Bar Lubitsch. He has also toured the West Coast including a handful of house concerts as a part of the Concerts In Your Home series. Since the release of his Human LP, Joseph Eid has been garnering considerable buzz. He has been featured in American Songwriter Magazine’s “Best New Music” column and was recently named as one of the 100 Hottest Live Unsigned Artists by Music Connection Magazine. His latest EP, Watch It Fall, is released today.Website here, Facebook here.
It was a case of which song to feature from Joseph Eid's brand new EP 'Watch It Fall' having carried the title track back in February. Thankfully we can embed tho whole piece which comprises of six Americana meets modern folk material, written and performed to a delightfully high standard throughout.
Background - Straight from the city of Cleveland Ohio- the home of The Electric Eels, Albert Ayler, and Screamin' Jay Hawkins- comes the newest sensation in Rock n' Roll. This new sound will make you shake, shiver and smash things up. Teen Punk, by teenagers, for anyone who will listen. This is the real deal, this is HI-FI Organ Punk! "You're My Pacemaker" is a freshly cut track off Archie and The Bunkers' upcoming new LP set to be released in the fall of 2017, on a record label brand that can't be disclosed at this time. To promote their five week European tour next month, they have decided to give the fans a stunning visual taste of the long awaited follow up of their smashing self-titled debut album, released on Dirty Water Records in late 2015. Almost overnight, the band hit a fever pitch that immediately propelled them from a local basement band gigging around Cleveland, into National and International Punk superstars. They embarked on their first ever tour last spring in Europe playing six countries in two weeks, played at the exclusive Gonerfest in Memphis, and were also invited to play at Third Man Records in Nashville. ( Which some selected tunes ended up on a live 7" single just released on Jack White's World famous imprint). The duo will be hitting all the prime Summer festivals and club circuits over the five week journey including appearances at This Is Not A Love Song Festival, Festival Beat, Slap Festival, Relâche Festival, and Eurockéennes Festival. They will be sharing the stage and spotlight with bands such as The Mummies, 5,6,7,8's, The Gories, and even Iggy Pop. Live dates on Beehive Candy's tour page, website here, Facebook here.
I received a promo for Archie and The Bunkers a few months back, and am still puzzling as to why I didn't feature them, at that time. This is savagely potent, raw rock'n'roll. Energised and insane 'You're My Pacemaker' is a vibrant modern punk type song, with a timeless feel.
Background - The Phantom Sound is Marisa Schlussel a Los Angeles native and now London based solo artist whose new song 'Voices' has already been championed by the likes of tastemakers 91X FM in San Diego. The single will appear on Marisa's upcoming second album which sees her working with her long term collaborator, producer Ken Stringfellow (The Posies, Big Star, and R.E.M.). The album features Dale Crover of The Melvins and Nirvana (Bleach album), and Brian Viglione (The Dresden Dolls and Scarlet Sails) and sees The Phantom Sound moving into a harder, edgier territory. 'Voices' provides the perfect introduction to what promises to be a heartfelt, personal and sometimes politically charged Punk Rock record.
Marisa is a musician that rises to a challenge. After taking some time out from music, she returned to songwriting and recording in an industry that in some ways had changed beyond recognition, but her accomplished musicianship and songwriting ability led her to her working with artists who have not only influenced her own work but who have also shaped the creative output of many others around the world. On working as The Phantom Sound Marisa says “My interpretation of it is that it’s a sound that you hear within a mix of other sounds. It may not even actually be there, but your brain just hears it, almost like you are hearing voices… But, in the bigger picture, to me, it personally means a new discovery, something that was lost, and is now found, but in a more beautiful and significant way.” Facebook here.
There are layers of refined sound and emotive and passionate vocals as 'Voices' begins to unfold. Then the whole thing kicks into gear and an earnest rock song urgently demands your attention, and certainly got mine.
Background - Beta Days released their glittery new single, "Settled for Gold", from the upcoming debut album, S.T.T. Beta Days is the one-man project of songwriter and multi-instrumentalist Bill Bierce. The project evolved from Bierce's late night writing sessions that would start around 3 AM, as it was the only time neighboring bands at his practice space weren’t around to drown him out. Sadly, Bierce's mother passed away during the album's mixing, while simultaneously his father occupied a long-term hospice stay from a head wound which had left him in a vegetative state a few years prior. Everything was cast into doubt, but Bierce stayed the course and completed the record mid-2016. The end result is a hazy reflection on idealized youth, relationships, isolation, and the drudgery of adult life. All of this is presented through a prism of evasive lyrics and tightly arranged instrumentation, leaving the listener to draw their own meanings from the songs. Bierce expanded the project into a live band shortly after completing the record, including his ex-Wandas bandmate Keith McEachern on bass. The group has enjoyed the contrast of raw energy with more guitar-oriented live performances. Beta Days debut full-length LP, S.T.T. will be released everywhere June 23rd, 2017. Website here, Facebook here.
'Settled for Gold' is a lo-fi rock song where high calibre musicianship and a sophisticated arrangement, make the perfect backdrop for Bill Bierce's enticing vocals and intriguing lyrics.
Background - Natalie Bouloudis goes beyond heartbreak with the bluesy theatricality of Whirlwinds, a captivating cut from her Dead Sea Scripts EP . ‘Whirlwinds’ emerged out of a break-up song which I decided to go back and revisit once feelings had subsided. I liked the idea of looking back at something which had once felt raw but through time and disassociation I became an editor or an archeologist finding dinosaur bones and putting them back together; never knowing what it really was like when it was alive so it takes on it’s own new story. I also wanted to capture the anger and the crazy storm of heartbreak. The vocals swell into highs and lows like the motion of the howling wind. The song is a heavy blues jam and the most dramatic sounding song on the EP. A native of East Sussex, Natalie Bouloudis first got her musical education in childhood, having played clarinet in jazz bands and had a few guitar lessons at school. From the age of seven she started writing her own music and has been (till recently) a secret songwriter ever since. Having lived in London for the better part of the last decade, she decided three years ago to launch her music into the public sphere under the name Aurora Harbinger. She soon played venues like Servant Jazz Quarters and The Victoria in Dalston, quickly building a loyal fan base that enabled her to successfully crowd fund her debut record. For Natalie, playing live is an important consideration in the songwriting process, a process which focuses centrally on generating atmosphere and intimacy. Her debut EP is her first proper recording and it was all recorded live at Wax Studios in London and produced by Robert Strauss. For Natalie, getting the EP right was dependent on how precisely she could evoke the feelings she had in mind. Though armed with encyclopaedic knowledge of narrative songwriters across the spectrum of folk, rock and jazz, Natalie brings to the table her own brand of atmospheric storytelling. It’s folky in its arrangements, but in terms of sheer vocal delivery she’s a soulful rock and roller, at times calling to mind the visceral and lurching tones of Patti Smith or Etta James. ‘Burning Pier’ may only be her first single, but already it reveals an artist in the classic sense: thoughtful, precise, and led by instinct and imagination. Facebook here.
Third time around on Beehive Candy for Natalie Bouloudis this time with the bluesy 'Whirlwinds' a fabulously passionate and rhythmic piece. It's a little like Natalie Merchant with the energy levels turned up, however having heard her other material this Natalie is definitely carving out her own beautiful sounds.
Background - Leather Girls first unleashed their ferocious style of garage rock upon their hometown of Austin, Texas in 2015 after Erik Camacho (guitar/lead vox) and Mike Garrido (guitar/vox) bonded over their shared affinity for Tropicália, Los Dug Dugs, and Billy Childish. Dillon Fernandez soon got added into the mix (drums) shortly followed by Deborah White (bass/vox). Once a fully gelled unit, they quickly garnered a reputation for their high energy live show and blistering fuzz accentuated with a hint of Texas twang - sharing bills with legends like Holly Golightly, The Dictators, Mr. Airplane Man and becoming a favorite show partner with local heavy hitters Ringo Deathstarr and Holy Wave. Their highly anticipated self titled debut album will be released on June 2nd via Yippee Ki Yay Records, and delivers a range of raw, airy, raucous, high energy rock sounds - much like a brick of $8 firecrackers set off in a metal trash can and then shoved in the trunk of a Chevy Nova that had to be saved up for. Facebook here, live dates on Beehive Candy's tour page.
One of thirteen tracks on the forthcoming album and 'Arabian Daze' signals ahead that you shouldn't expect to sleep any time through the collection. Besides the energy levels, the band create some catchy hook laden songs, in a natural, unpretentious and very addictive manner.
Background - About Natalie Bouloudis “My songs tiptoe on the edge of fiction and reality. I like rich melodies, moody skies, dark romanticism, charged atmospheres that tell hard-boiled tales.” A native of East Sussex, Natalie Bouloudis first got her musical education in childhood, having played clarinet in jazz bands and had a few guitar lessons at school. From the age of seven she started writing her own music and has been (till recently) a secret songwriter ever since. Having lived in London for the better part of the last decade, she decided three years ago to launch her music into the public sphere under the name Aurora Harbinger. She soon played venues like Servant Jazz Quarters and The Victoria in Dalston, quickly building a loyal fan base that enabled her to successfully crowd fund her debut record. For Natalie, playing live is an important consideration in the songwriting process, a process which focuses centrally on generating atmosphere and intimacy. Her debut EP is her first proper recording and it was all recorded live at Wax Studios in London and produced by Robert Strauss. For Natalie, getting the EP right was dependent on how precisely she could evoke the feelings she had in mind. Though armed with encyclopaedic knowledge of narrative songwriters across the spectrum of folk, rock and jazz, Natalie brings to the table her own brand of atmospheric storytelling. It’s folky in its arrangements, but in terms of sheer vocal delivery she’s a soulful rock and roller, at times calling to mind the visceral and lurching tones of Patti Smith or Etta James. ‘Burning Pier’ may only be her first single, but already it reveals an artist in the classic sense: thoughtful, precise, and led by instinct and imagination. About ‘Firebird’ - I wanted to capture a strong empowering feeling in this song, the protagonist is a femme fatale character. I wanted it to sound like a 60’s girl group jamming with a 90’s grunge band. Essentially ‘Firebird’ is about taking charge of your destiny, walking through the fire and coming out the other side just as the mythical firebird or phoenix is the embodiments of obtaining a new life by arising from the ashes of its predecessor this song is about emerging out of darker times stronger than ever and looking forward all the way. Facebook here.
Taken from the five song EP 'Dead Sea Scripts' we have 'Firebird'. Natalie's vocals are the first notable feature, exuding passion and sounding so heartfelt and determined. Musically there is a powerful yet uncomplicated soundtrack that adds to the emotion and feel. Like song equals love EP.
Background - Pipsy announces their highly anticipated debut single and video ‘Why Can’t I Get What I Want, For Once?’ is released this week via Melbourne (AUS) label Warhammer Kid.
Originally from Dunedin (NZ), Pipsy is the latest project by Melbourne based artist and producer Paul Pouwels. Named after the local nickname for the Dunedin New Zealand native, Pipsy follows up Paul’s work with critically acclaimed jangle-pop bands Males and blues-luchadors Julian Temple Band. Pouwels steps out from behind the drum kit as a frontman for the new band – offering up visceral, upbeat punk songs, with a soft and gooey pop-caramel core, written during his years as a sideman for other bands in the Dunedin music scene.
Written as a reflection on past mistakes revisiting him time and again, ‘Why Can’t I Get What I Want, For Once?’ is a surprisingly upbeat, tongue-in-cheek musing on bad relationships, bad choices, and that silly desperation that we all feel from time to time – that little voice that says ‘Why me?’, and the other that answers ‘Because you never seem to learn.’ The track was produced by Pipsy’s longtime collaborator Tex Houston, famous for his work with the historically significant Dunedin Sound bands The Clean, The 3ds, and The Verlaines.
Musically, Pipsy explores new psychedelic and soul-pop territories on ‘Why Can’t I Get What I Want, For Once?’ while further stretching his musical muscles by writing, producing, singing and playing guitars and drums on the new track. ‘I felt that it was pretty personal music, so I liked doing as much as I could – plus I still love bashing the drums, so I thought, if Dave (Grohl) can do it, maybe so can I!’ said Pouwels of his turn to songwriting and being a frontman.
The band is rounded out by Paul’s brother Cameron on bass, longtime collaborator and hip-hop producer Josiah Cowan on guitars, and new member and childhood friend William Powell on drums for live shows. Pipsy's debut EP will be released later in 2017. Website here, Facebook here.
I get the personal feeling, that was sought for 'Why Can’t I Get What I Want, For Once?' and the video adds a story line with just a little humour for good measure. Musically it's a slightly laid back indie rocker, one that grows quite quickly into a very likable and re playable track.
Background - Emma Elisabeth is a Swedish artist based in Berlin. She has one foot in the Swedish pop musicscene and the other foot in the fantasies of the fuzzy underground. Sort of like ABBA jamming with Jefferson Airplane and Fleetwood Mac in a 90's grunge club hosted by Garbage. A rather wild mixture, which results in playful, gritty pop songs that fearlessly take on hooklines and bring them into unexpected places. It's a shower of jangly guitars and flowing vocal harmonies filled with both elegance and intoxication. The expatriate Swede is currently residing in Berlin where she has teamed up with well-renowned producer Victor Van Vugt (Nick Cave, PJ Harvey among others) to produce her upcoming EP. She has just released her new video "Where Do Tears Go". Facebook here.
'Where Do Tears Go' mixes melodic pop sensibilities with a slightly understated soundtrack that drives the rhythm and adds just enough content to makes it's mark. All of which allows Emma's tuneful, vibrant vocals to add emotion and passion to a very desirable song.
Background - The new album "Comb the Wicked" (La Petite Tempete) was released Friday.
In the fall of 2014 Jenny Gabrielsson Mare spent a month alone in Brooklyn writing songs for a new album. The result is Comb the Wicked – an album inspired by the atmosphere in Brooklyn; from industrial noise to soul and gospel. The songs are based on voice, piano, organ and percussion and she has collaborated with legendary percussionist Michael Blair who has played with some of the greatest like Tom Waits and Lou Reed.
And it is in the land of Tom Waits, Nick Cave and PJ Harvey we find Mare’s music. September 10 a first single was released: Wolves. Based on piano, cello and Jenny’s voice the song creates a dark forest where you are the hunter or the hunted.
The album carries religious and folkloric motifs and themes of guilt and insanity. Parallel with the album Jenny has been writing on her bachelor degree about the Devil in popular music.
Almost four years have passed since her last album The Ritual and during this time she has mostly been seen as one half of the indie-electronica-duo White Birches who’s debut album Dark Waters was nominated in the category “Synth” at the Swedish “indie-Grammy” Manifestgalan 2015. itunes here.
'Brooklyn Bridge' is the second track we have featured from the just released album, having covered 'Wolves' back in September. Jenny has a natural voice for darker more haunting songs, and with this one, you can add in a sense of concern and drama. The album has plenty more, where atmosphere and imagination is in large measure, along with gentle melodies and often understated soundtracks.
Background - "Frail" tells the story of what it feels like to love someone who struggles with an addiction. The video is directed by Marisa Pena. Amsterdam's by-way-of NYC artist Romy wrote and sings "Frail" in the video.
"We tried to keep the video as open and honest, vulnerable, as possible. It's a heartbreaking song in which I explain why loving someone who doesn't love themselves by having an addiction, will never produce a stable relationship. I would say that my songwriting helped me become a stronger woman/individual and helps my process. It helps me to understand things that happen around me, and the people around me whom I care for," Romy shares. "My songwriting process helped me to work through loss of a few break-ups too." Romy wrote, produced, and self-released a full-length debut Unbound in 2014 .
"Frail" is produced by Michael Di Lalla. Di Lalla and Romy are at work on her next track "Make it Work," releasing to digital stores later this year. Romy will continue writing, recording, and sharing her songs on streaming outlets like Soundcloud and Spotify. Website here.
The music video for 'Frail' adds some drama to the song, which with just the audio, certainly conveys emotion and feeling throughout. This is a serious piece, and the stripped back nature of the song, adds to the mood of struggling with addiction and life.
Background - Locks are a London based alternative skeletal strings bluesy band, a trio made up of Locks Geary-Griffin (lead vocal / guitar), Mike Byrne (double bass) and Marian McClenagan (fiddle). They are releasing their official debut four-track “Rattle Them Bones” EP on 21st November, which has a subtle fixation on the darker unnerving aspects of life and death all whilst keeping a jaunty, up-beat roots based rhythm flowing underneath. Lock’s vocal has a unique tone, which has been championed by BBC 6 music’s Steve Lamacq and previously featured on his credible roundtable show.
After playing with a variety of different bands including rockabilly, traditional Irish, indie and nu-folk, the three misfits found themselves in a rehearsal room together writing parts for murder ballads involving burying bodies, mythological creatures and dark family secrets. Slowly tracking the footsteps of whatever creature has wandered before them, whilst singing songs about whatever's hiding just under the surface or lingering from the corner of their eye, they are together creeping through London's weird and wonderful musical underbelly. Lead track “Wishbone” is about “something” that should never have been let loose and the simplicity of the video shot entirely on a iPhone lets you conjure up your own macabre images from the words alone. Locks hypnotically types out the lyrics on a vintage typewriter and this focuses you back to the sinister meaning of the story of the song. Facebook here.
Locks are a must see live combining their intimate shows with an air of unsettling oddness. 18th November - New Cross Inn, supporting Bess Atwell, London.
'Wishbone' is a strikingly good song. The trio mix natural heartfelt vocals with a distinct and catchy guitar lead soundtrack. The blues feel at the core of the song, again comes across as instinctive to the band, and it's rolling out a cliche time, so, I really am left wanting to hear more (actually a lot more).
Background - Bringing his dream to life, LA-based conceptual artist Justin Michael Williams releases his debut album Metamorphosis after transitioning from an 8-year career as an international yoga and meditation teacher into recording artist. His meditation practice is what gave Justin the laster focus to get to the top 20 on the pop charts on Itunes without a manager or a label. “Metapmorphosis” channels classic elements of love, loss, and self-acceptance and is a brilliant examination of the human experience through Justin’s eyes.
Metamorphosis, features 11 tracks that range from the heart-wrenching ballad "Here with Me" to the pop anthem S##t Gets Better” Justin's R&B vocals mix perfectly together with the sleek instrumentation, similar to artists such as Usher and Jose James.
The album debuted at number 18 on the iTunes Pop charts, and Justin has been featured on Spotify's Discover Weekly playlist, NewNowNext, and the Wall Street Journal. If Maxwell, Prince, and James Blake had a music baby, it would be Justin Michael Williams. Williams is taking pop-infused R&B to a new level that is as inspiring as it is entertaining. Facebook here.
'Here With Me' is one of ten very individual songs on the album 'Metamorphosis'. Actually there is an eleventh bonus track called 'The Story' which is just that, Justin explaining his background and how he came to record the album. Rather than self indulgent it actually pulls the whole thing together. The featured song is a ballad that builds, the album explores so much more, making a genre I normally struggle with actually very engaging.
Background - It was while shirking her duties as an arts and culture guide copywriter that Natalie Bouloudis found the seed that would sprout into her debut single. Initially derived from a story she wrote on the job (she wrote various poetry and prose compositions to pass the time), ‘Burning Pier’ is set in a fictionalised amalgamation of the burnt-out husks of Brighton, Hastings and Eastbourne piers. Essentially a meditation on how disasters can both evoke nostalgia and make us question our future in a new light, Natalie conjures all the energy and drama of narrative songwriting forebears like Nick Cave, PJ Harvey, and Kate Bush, while stylistically existing in a sphere of her own. The song was recorded in a live take with the only overdub being drummer Hannah Stacey’s sparkling Rhodes piano. As such, it has all the thrilling tension of a group capturing the thunderclap spontaneity of perfect live communication.
A native of East Sussex, Natalie Bouloudis first got her musical education in childhood, having played clarinet in jazz bands and had a few guitar lessons at school. From the age of seven she started writing her own music and has been (till recently) a secret songwriter ever since. Having lived in London for the better part of the last decade, she decided three years ago to launch her music into the public sphere under the name Aurora Harbinger. She soon played venues like Servant Jazz Quarters and The Victoria in Dalston, quickly building a loyal fan base that enabled her to successfully crowd fund her debut record. For Natalie, playing live is an important consideration in the songwriting process, a process which focuses centrally on generating atmosphere and intimacy. Her debut EP is her first proper recording and it was all recorded live at Wax Studios in London and produced by Robert Strauss. For Natalie, getting the EP right was dependent on how precisely she could evoke the feelings she had in mind. Though armed with encyclopaedic knowledge of narrative songwriters across the spectrum of folk, rock and jazz, Natalie brings to the table her own brand of atmospheric storytelling.
It’s folky in its arrangements, but in terms of sheer vocal delivery she’s a soulful rock and roller, at times calling to mind the visceral and lurching tones of Patti Smith or Etta James. ‘Burning Pier’ may only be her first single, but already it reveals an artist in the classic sense: thoughtful, precise, and led by instinct and imagination. “My songs tiptoe on the edge of fiction and reality. I like rich melodies, moody skies, dark romanticism, charged atmospheres that tell hard-boiled tales.” Facebook here.
Live Date: Thursday 2nd December: The Finsbury, London N4 (Burning Pier Single Launch).
A distinct and attractive song 'Burning Pier' boasts Natalie's superb soulful vocals against a backdrop of intricate musicianship, that morphs between folk, blues, and rock. As first single releases go, this one sets the standard incredibly high, let's hope this song gets noticed far and wide, that I would say, is a reasonable enough request..