I have been a little out of it haven’t I? Sorry about that. I don’t know about you, but when you’re working unpaid internships, maintaining a cross-continental relationship and attempting to at least look after yourself (and failing due to my seemingly unending addiction to Diet Coke) it can be hard to find the time to post regularly when it is a singular enterprise here.
I have been trying to stay on top of things and have been slowly sifting through things to post until IDER dropped into my email inbox this afternoon. I actually went to university with these two. First time I saw them play was a showcase of the Popular Music students for the BA Photography students on a joint project, although if I remember correctly (and I probably don’t) they were in different acts at the time. However, I was there for 2 more years and saw them form a delightfully well-crafted partnership that saw them become the darlings of a small but talented musical well in a sleepy seaside town in Cornwall.
Life goes on and I never really gave it much thought, after all, I didn’t actually know them just saw them pop up in bars and venues around the town throughout university. So, when you’re sat on your tod at work and big ass full reds jpeg comes in of two people you recognise you have to listen.
IDER are a London based duo who immediately juxtapose folk structures with a thoroughly contemporary production sound. Their new single Body Love released on their new home Glassnote Records is a stunning, cascading single that evokes a meditative reflective viewpoint on love lost, attraction and belonging. Expertly harmonised vocals fulfil a host body that allows keys and falling melodies to construct the subject matter of the song.
See IDER at the following live dates:
25 November | DiCE Festival, Utrecht 2 December | CBE, Cologne* 3 December | Lido, Berlin* SOLD-OUT 4 December | Knust, Hamburg* 5 December | Paradiso Noord, Amsterdam* 27 March | Rich Mix, London
I am really starting to run out of excuses arent I? Still, no better way to cease my lack of posting via something new. I covered Tusks a while back in regards to their upcoming debut album, and the latest track has just dropped. Let me tell you, it’s an absolute peach.
Created alongside producer Brett Cox, Tusks (aka Emily Underhill) channels the guitar-driven attitude of bands such as Land of Talk and the Joy Formidable to deliver a feisty and unapologetic track that, in her own words was conceived as a response to someone who had frustrated Underhill. “It was a bit of a fuck you to a person at the time who I’d invested loads of energy and time into who’d messed me around.” We have all fantasised about being able to react to these people in public with righteous indignation, so let Tusks take the mantle for you and deliver the inspiration necessary to give them a well-deserved kick up the backside,
Look out for the debut album Dissolve, coming out October 13th.
Honestly, if you were to go through my posts, there would be an inordinate amount of excuses based around my lack of posting. This time, it’s pretty straight-forward. My girlfriend has been in visiting me in London and I’ve been far too busy being in love. I have no regrets. Sue me.
In that vein, I’m really not in the mood to listen to my usual brand of misery-laden indie rock. Instead, I’ll feature up some Australian power-pop for those optimistic summer vibes that have been infecting my life for the past two weeks. The immediate reaction to listening to this track is similar to the same reaction to records by Telekinesis. Wesley Fuller, who by the way has the best surname in the fucking business, channels the infectious indie pop that is perfect for fans of Chris Walla, Telekinesis and Cruisr.
Taken from the upcoming LP Inner City Dream, you can catch the rest of this album on September 22nd via 1965 records.
I used to take myself really really seriously. When I was 19/20, I wrote about myself on my first artist website in the third person. I told girls I was an artist. I read Kerouac and thought it made me deep and I only used film cameras because it’s authentic darling. It got so bad at one point that when my first-year university lecturer (shout-out to the unstoppable Steph Cosgrove) asked us to define pretentious, the entire class of 70 agreed on her nomination of me as the perfect volunteer. My fault for drinking coffee black and reading Bukowski because I was haunted.
This extended to my listening habits. But, for every National album, there had to be some form of musical escapism. Motherhood inhabit that current space for me with their single Save Me. Think Sundara Karma releasing their summer club anthem. It’s unmistakably a song to dance to. Whether that’s with a beer at the beach, over breakfast in the kitchen or with that person you bought a drink for in your tragic home-town club. Eschewing complexity for simple pop hooks and syncopated guitar rhythms to imbue a carefree status, this Liverpudlian 4 piece transcend a listener’s pre-disposition towards self-congratulation.
Save Me is out August 10th (the same time my girlfriend visits from Florida so fucking about time for some joy right) and will be on their debut EP dropping this autumn.
Sorry sorry. I know I’ve been away for a bit. Alas, as this is not my primary money-maker, it’s far too easy for me to get lost in the day to day of all my other commitments and totally push back any sort of posting. So, first and foremost, I know I’m late with the July Mix and I’ll endeavour to get that done as quickly as possible. However, today I’m sharing the latest track from Brooklyn based duo, “Surf Rock Is Dead.”
I haven’t featured these guys in nearly 2 years, back in 2015 when I thought the best way to dress was skinny-fit hobo. However, whilst my ability to dress myself like an adult has improved, so has “Surf Rock Is Dead’s” output. Maintaining a guitar tone of wistful summer vibes, the minor chords though infrequent, run out like dischordant conflict against the subject matter of attempting to distance yourself from someone you love. Like the moment of weakness through weeks of strong stoicism.
As If is from the forthcoming EP We Have No Friends?, due to arrive on September 22.
The guitar is a wonderful instrument. It is the tool of entertainers, showmen, storytellers, healers and sinners. It is both a sex object and a confessional confidante. Portable in nature and individual in its playing style, it’s no surprise that it has become intrinsic to the confessional musician-poet.
Melbourne based singer, BATTS new single Little White Lies is the latest track to follow in this tradition. Carried along by a slow, simple, strummed chord pattern, the vocals tell the story of how our daily interactions are filled with duplicitous, secretive and selfish untruths. As the aforementioned “Little White Lies” escalate so does the music into a crescendo as the layers of our collective self-protection reach dangerous levels.
Having said that, the line that really hit me was the point in which the narrator tells her doctor “I don’t smoke.” The sheer amount of times I told my doctor I had stopped when I was younger, only to light up as soon as I was out of my sight was actually worrying. Guess I’m as bad as everybody else.
I’m better now though, honest.
BATTS debut EP is being prepared for the end of 2017 so look out for something potentially special.
I know I promised two track three days ago but fuck, life really catches up with you. I’ve been considering for a while to take this more seriously as a platform and an endeavour. Alas, with two jobs and a seemingly endless stream of commitments, it can get a little tricky. However, that’s no excuse and in the coming weeks I’m going to be attempting to professionalise my output including my inbox which is seemingly inundated daily. Not that I’m complaining, I just keep missing good shit.
Didn’t miss this though did I? Weird Milk have crashed a mature indie pop tune into the July listening stream. It seems that in the constant upstream of self-made electronic auteurs, the classic band setup is missing dearly. Weird Milk reminds me of when I discovered Fort Lean on “I Guess I’m Floating” years and years ago. The band has a slow R&B flavour to the classic indie track, eschewing the dream pop inspired material of their ilk. With a well-placed organ peering through the jagged guitar tone lends a 70s evening feel to the track whilst not allowing it to stray into retro chic.
All Night is out now and is the band’s second release with Camden based label Ra-Ra Rok.
I was an angsty teenager, yet like all classic middle-class indie kids didn’t have a lot to actually be angsty about. I mainly spent my time driving around in my shit-soaked rollerskate car listening to Modest Mouse, Built to Spill and American Football on repeat whilst wondering why no-one wanted to be my girlfriend. The answer, ironically, is right there but 17-year-olds are a beast upon themselves.
People Like You are a band that jettison me straight back to those days of angst-filled regret. Mixing the best of American Football’s creeping vine-like guitar lines with early Modest Mouse vocal patterns alongside a jazz-infused percussion song structure, Thumbnail, the new single taken from their forthcoming album release, is an absolute masterpiece. Built for road trips, solitary listening periods and jam sessions, the Boston-based band shift seamlessly between the punk DIY scene and a jazz stage on a chariot of trumpets, guitars and mid 90s indie rock sensibilities.
I have listened to the whole album, Verve, and will be giving it a full review ahead of it’s release on July 28th as it is an absolute beauty and could easily be my album of the year alongside the like of Sundara Karma, Fleet Foxes and The National. That’s not an exaggeration, these guys are so accomplished that they could be part of the contemporary listening lexicon for years to come.
You can preorder the album here, and why wouldn’t you when you can get it on such a gorgeous Vinyl release. If I were cheekier I’d ask for a free copy but I’ll just have to save up because it is absolutely fucking gorgeous.
I was sent this in my inbox this morning with the description of “hungover dream pop.” Not an entirely easy phrase to ignore, with my experience of being hungover somewhat prolific, I decided to take a dive into a band I’ve had absolutely no exposure to.
The Desert, a collaborative duo featuring singer-songwriter Gina Leonard and guitarist & producer Tom Fryer, are purveyors of understated, headphone based dream folk. Their latest single Just Get High is their debut release ahead of their inaugural EP Playing Dead. Just Get High, is a morose, pleading track that evokes the moments of regret we all have in the too-hot sun of a hungover Sunday. As you sit over a coffee and an eternally extinguishing cigarette, The Desert soundtrack the regret, desire and innate sadness in overdrawing oneself.
Due to the nature of having a semi-casual work schedule, I can sometimes end up with accidental four day weekends. I’m sure for many, this sounds like a dream come true. Alas, I am not someone who easily transitions into a life of relaxation and leisure. Blame my highly strung nature and an inability to sleep, I end up existing in a bizarre liminal dream space.
So, TUSKS latest release Dissolve perfectly subsidises this bizarre existant state. Ahead of her debut album Dissolve, out October 13th, the title track simmers as a post-midnight track along the rails of the post night out moment of clarity. Whilst I’ve been struggling now for a considerable amount of time to stay on top of the musical curve, due to a general sense of ennui, Dissolve channels it into a post-rock inspired transcendent pop dream.