Spring is nearly here. At last! So what we need now is some uplifting, summer-filled noise. Right? Wrong. Here’s Deptford Goth! Described by Last.fm as downbeat electronica, but don’t let that fall you for a second. There’s a sneaky warmth in the melodies and fuzz that make up the noise.
Deptford Goth is a one man machine from London, and his debut album is dropping in March. All I’ve heard so far is ‘Union’, but that’s enough to get me excited. It’s an understated, woozy track that just finds a way of charming the listener. Have a listen to ‘Union’ below.
Judging a book by its cover is one thing, but judging a band by a name isn’t something that really happens. Let’s be honest, most times you’ll hear the music first, so band names are pretty irrelevant. However, while scanning a playlist a couple of days ago, one name jumped out. Boxed Wine. Any band who would decide to name their creative output after such a thing clearly deserve my attention. And as it turns out, they make some good noises. Particularly good is ‘Dayglow (Why Can’t We Stay)’ from their 2013 EP, ‘Cheap, Fun EP’, bringing to mind the likes of Funeral Party with their churning bass lines and disco rock.
The Blessing Force crew can do no wrong these days, and living in Oxford means I’m lucky enough to see my fair share of it in the flesh. Recently I’ve been gushing about Chad Valley and Rhosyn (plus Foals, obviously). But Pet Moon are a new one for me.
A free download called ‘Hold The Divide’ popped up onto their Soundcloud page a month or so ago, and it’s brilliant fun. Both Pet Moon and Blessing Force in general make clever pop music seem so easy. ‘Hold The Divide’ drapes noodly guitar bursts with thick electro beats and a warm broth of synths bubbling underneath. Have a listen below, and download (what now appears to be Japanese noodle soup in song form) for free!
Late last night, the BBC Sound of 2013 longlist was announced, with 15 different artists populating the list. As has been said before, it’s obviously a very self-fulfilling prophecy. The panel aren’t going to pick a 21-year old playing with a triangle in Stranraer. Pretty much all of the artists and groups selected have a long form release coming out in 2013, and are all doing so for the first time. So it leaves things feeling a little bit obvious and contrite. Also, the overbearing hype that these 15 will get means that it’ll further boost their profile.
This sounds like a bit of angry rant, and I’m not sure that it isn’t. However, there are some artists on there that I am very excited to hear what they have to offer in 2013. AlunaGeorge first and foremost. First mentioned in these parts back in April, their debut LP has the potential to be brilliant. Chvrches is another band on the list that has caught my eye recently. ‘The Mother We Share’ is a great track, with a clear and obvious parallel to be drawn to the likes of M83. Even the ‘oh’s’ at the end sound like they’ve been pulled off of an M83 track, but it’s still its own beast, with a bubblegum sweetness and squirreling synths.
So where does this have to do with the headline? Well, shortly after hearing the list announced, I finally got around to listening to the Miguel album, Kaleidoscope Dream. It’s one of those albums that I’ve heard thrown around endlessly for the last couple of months, but I’d never got around to listening to it. So last night, I took the plunge.
It’s something special. It’s R n’ B without the overbearing bells and tassels of R-Kelly. It’s got the laid back groove of Frank Ocean (and drug references to boot). But really, it’s just a smooth, hook-filled monster.
I’ve listened endlessly to ‘Do You’ today, from the album. It starts of in a Washed Out meets R n’ B at the beach, before sharpening up and flexing its muscles. Just after a minute, the bass and drums come back-flipping in, magnifying the excellence of what’s already been layered up. Lyrically, it’s a little sickly and schmultzy, but after expressing my fanaticism for Bon Iver’s ‘Beth/Rest’ last year, you’ll know that it works sometimes. And with a line like “I’m gonna do you like drugs,” you can see it’s not all puppydogs and flowers.
So while this seems like two different points here, there is some logic behind it. Yes, it is terribly exciting that there is this new list of 15 artists that everyone will be getting very excited about over the next month or two (AlunaGeorge will win), my point is, there’s plenty going on outside this little bubble, and lots of brilliant new music just waiting to be heard. This is Miguel’s second album, far better than the first, and sometimes artists and groups need that time to grow. My fear is that the BBC Sound of 2013 can place an overbearing and overwhelming pressure on all 15 to come up with something amazing, or be doomed to fail. But failing is fine. One way or another, we all get a second chance.
I always feel the need to write long, thought-out pieces on here. Today, that is not the case. Too lazy to even chuck up a picture.
Short story. Writing a review tonight. Check site I’m writing for to see house formatting rules for said site. Happen to click on this review. Sentence saying “Like Fall of Troy, Sleigh Bells, Mars Volta. That’s all I needed.
Well, this one’s been a long time in coming. I’ve spent the last six months willing myself to write something about this band, and the time finally feels right. Tall Ships now feel like an integral part of my being, like a kidney. Except, probably more important than a kidney, because you can always get rid of a kidney. The heart seems like too much of a cheesy metaphor. So let’s just say they are a crucial internal organ of some sort.
I first stumbled across ‘Plate Tectonics’ through a friend posting it on Twitter. I was instantly smitten. It seems fair to say that the ol’ time-signature switcharoo has been massively influential in the last five years or so in the indie/alt-rock landscape, with the like of Foals and Vampire Weekend creating a plethora of cheap knock-offs and wannabes. I had the displeasure of seeing a local band this year who just seemed to throw in a time-signature switch whenever they ran out of words or ideas on what to do next.
This is why this band are special. They have such a focused energy on making the switches fit in in the context of the track. It’s always there for a reason. Not only that,but to create layers of sound, guitar loops are often used. These loops and time signature switches are perfectly exemplified in ‘Plate Tectonics’. Initially, it’s a lyrically smart catchy-shindig of a track, before turning round halfway through, pulling up its socks and running in a completely different direction. In the second half, one fretful riff sets the pace before other layers of guitar riffs are spread over the top, creating some kind of deep-fill sandwich of noise. There’s always a desire to want to praise the bass and percussion as well, but it does what it was built for; it acts as the structure that allows the track as a whole to shine. It’s the delicious bread in our bizarre sandwich simile. People sometimes forget the bread, but without it, you are just licking sandwich filling from your hands.
So that’s one track. I could sit here for forever and a day and turn every one of their tracks into delicious food-based lexical terms. But I don’t want to spoil the fun of other people’s journeys, but I really do want you to dive in. Head first.
One of my favourite people in the world bought me a ticket to go see their live show when they were on tour with Los Campesinos a few months ago. Unfortunately I couldn’t make the date in the end as I was several hundred miles away, but she said something that resonated with me, and it’s something I want to steal share. Tall Ships use vocals sparingly; they are intelligently aware of the fact that it’s just one part of music. Without being too disparaging of Los Campesinos, they almost overload the listener with lyrics. At times it works, but at times it leaves the listener feeling full and unable to absorb any more meaning. Tall Ships are able to say more with one sneaky verse of lyrics in a track; it has such a powerful impact. The white space of vocal silence acts as a framing device to magnify what is being said. It also allows the actual music they are making to stand out too. A track like ‘Vessels’ is a case in point. The track is so brilliantly constructed, I can never get tired of hearing it.
So, the wonderful person who did get to go to the show got me a signed white vinyl single of ‘T=0’, shown in the picture. This track is the first single from a forthcoming debut album from the band. According to the band’s Twitter, an announcement will be made next week regarding a release date and a UK tour. Catch them while you can.
It has been far too long! And for that, my humble three readers, I can only apologise. Life has been somewhat gloriously in the way. But enough about that. I’m here for the music, and so here is the music.
AlunaGeorge! What do we know. Vocalist Aluna Francis and producer George Reid make the kind of dreamy glitch-pop that slides effortlessly under your skin, and into your brain. They have an EP out early next month, and if it’s anything like the track below, it should be perfect.
There’s this fantastic sense of a 90’s R&B revivalist movement going on, but in some ways it doesn’t even make sense to call it that. Aluna, George and myself grew up on a diet of UK Garage and R&B, and that just stays with you. So now that talented people like AlunaGeorge are in a position to make music, of course that sound is coming through. But it’s something new and interesting at the same time. The production on ‘You Know You Like It’ is woozy and thrilling, it just all binds together so well; like cream and jam on a scone. Did I mention this is becoming a music/food blog? No? Mostly just to satisfy my food cravings as I’m five weeks away from running a marathon and on the straight and narrow (sort of). But enough about me, here’s some Youtube gubbins. Enjoy.
Horses Playing Harps 