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Solo music project of Josh Best-Shaw. 22 year-old producer/songwriter. EP Sweet Obsession by Hydromag

It has such a dreamy feel about it maybe reminiscent of Mac DeMarco while the synths feel like a slowed down Joe Goddard track despite the ever-so-gentle vocals and guitars. Maybe it’s that bass drum, or the guest vocal, but I really just can’t put a pin on this, everything melds into a wavey finale . There’s a whole EP of the stuff that’s well worth listening to but it’s this mesmerising offering that stands out .
Here you can find track previews from release Sweet Obsession – EP by artist Hydromag. This album was released 05.06.2017 and containing 4 tracks. Listen online to Hydromag – Sweet Obsession – EP
Debut EP ‘Sweet Obsession’ out now.

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Widowspeak fuses lightness and darkness like few others: The group’s sound may conjure the effervescence of dream-pop, but a gloomy, anxious undercurrent anticipates nightmares at any given moment. On each successive album, bandleader Molly Hamilton adds a few more layers to an atmospheric, slow-burning sound that conjures deep melancholy, even as it indulges in the lilting majesty of shoegazing rock. Widowspeak’s members describe at least one element of their approach as “cowboy grunge,” and that’s strangely apt.

“Dog,” the first single from the band’s new third album, Expect The Best, captures Widowspeak’s distinct mix perfectly, while speaking to larger internal conflicts. Hamilton writes that the song is “about the compulsion to move on from things and places, even people, when you’re not necessarily ready to. Sometimes, I get caught up in ‘the grass is always greener’ mentalities, or cling to an idea that ‘I’d be happy if…’ and then make a drastic change. Then, inevitably, I feel restless a few months later and it starts again.

“It also addresses how I look at social media,” she adds. “I think it will help me feel connected to people I used to see more, but I end up feeling lonelier, like I’m missing out on a sense of contentedness that comes with staying put or at least committing to a particular direction. So it’s not literally about my dog so much as the way a dog might think about its home — not overthinking the next move, geographic or mental.”

Expect The Best comes out August 25th via Captured Tracks.

Molly Tuttle says this song “came out of a feeling of dissatisfaction that I struggle with from time to time. I think that the tendency to feel like something’s missing … is pretty prevalent in this day and age.” Whatever is missing from Tuttle’s life is definitely not talent: “Good Enough” showcases her technically precise and yet aggressive guitar style, which works as a beautiful foil to her crystal-clear voice. Helped along by John Mailander (fiddle), Todd Phillips (bass) and Wesley Corbett (banjo), the perpetual-motion feel of “Good Enough” perfectly echoes the constant struggle to be and do more — a struggle that, if you let it, can blind you to all the good in your life. Luckily, Tuttle knows how to keep that struggle in check: “I’m finally learning how to let some doors stay shut,” she sings. “It gets so hard but I’m not giving up … There comes a time to say that’s good enough.”

Emerging from the ashes of indie-soul duo Wanderlust, JunoKind represents the electronic rebirth of Jade Richards‘ and George Gunson’s creative sympatico, bringing into the fold keyboardist Brad Green (These Winter Nights) and bassist Michael Anstee-Brook (Wise Oaks) to flesh out the pair’s evocative core sound.

It’s a transformation that has absolutely worked to their credit, the foursome having turned out six layered, incredibly listenable and magnificently nuanced pieces of music on their debut EP , The Infinity Cafe.

While Wanderlust’s vox-and-guitar set-up was enticing enough in and of itself, the broadened, more developed soundscapes here — which also include electronic beats from Richards and guitar and keys from Gunson in addition to the pair’s sweetly complementary co-vocals — are exceptionally easy to melt into.

Opening track “Able” kicks off with something of a nod to Wanderlust’s more acoustic days, with piano and violin giving way to hushed synths, reverb-laced guitar and inviting warmth of Richards‘ voice. Once the beats and bass enter, the transformation is complete, and JunoKind take flight at their lush, lubricious best.

As busy as parts of their songs can get, the band display a real talent for understanding when to fill their bars and when to hold back, as the restrained, irresistible “Necessary Space” and piano-driven “Embrace” capably show, and the five-minute “Hiding Places” is another wonderful demonstration of the band’s ability to blend acoustic, organic elements into their tech-lined compositions .

Rounded out by the deep grooves of Lightning Storm and slow-burning, climactic, instrumental-till-it’s-not Easy, The Infinity Cafe is a forceful and hugely enjoyable first effort for this re-imagined outfit, produced and engineered by Andy Lawson (Eskimo Joe, Gyroscope, Tired Lion), drawing on each of the members’ copious previous experience both together and apart to create this distinctive and mesmerising new sound.

It’s the kind of thoughtful, intelligent, well-crafted and alluring release that does nothing but engender genuine excitement in the listener about not only its contents, but everything that’s yet to come from this massive well of potential.

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Located at the end of winding and tumultuous road, “The Infinty Cafe” offers shelter to the electronic resurrection of Perth indie soul band, Junokind. It serves psychedelic swirling keys and guitar passages, on a bed of driving and often quirky drums and percussion, topped with surging harmonies and vocal passages. A record encompassing the loneliness of love and the tyranny of distance, “The Infinity Cafe” is Junokind’s diary of their adventure through life’s hiding places.

To stay on top of their upcoming movements, Please give them a like on Facebook.

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Meshing rock & roll, soul, and pop music with acoustic overlays, The New Respects inhabit a genre all their own. The band cites Aretha Franklin, The Beatles, and Led Zepplin as core influencers of their music, traces of which can all be found within their catchy hooks and heavy grooves. NPR Music announced the upcoming release of the band’s 5 song EP Here Comes Trouble, which features 3 new unreleased tracks, which the band played live on tour this past spring with Robert Randolph.

Band Members
Alexandria Fitzgerald
Alexis Fitzgerald
Darius Fitzgerald
Jasmine Mullen

 

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Luna – the New York City-based guitar band now scattered around the country – is happy to announce the upcoming release of “A Sentimental Education“, an album of covers, as well as an EP of 6 new Luna instrumentals entitled “A Place Of Greater Safety”. Both will be released simultaneously on September 22nd via the Double Feature label. The LP and EP mark the band’s first output since Luna’s last studio album Rendezvous, released 13 years ago. Both the LP and EP were co-produced by Jason Quever (Papercuts) and recorded at Palmetto Recording in downtown Los Angeles. On “A Sentimental Education” Luna tackle songs by The Cure, Mink DeVille, Fleetwood Mac, Mercury Rev and others. The Luna lineup remains the same as it was when they last recorded: Dean Wareham, Sean Eden, Lee Wall, Britta Phillips.

Today the band share the first single from A Sentimental Education, their take of Fleetwood Mac’s “One Together” which is off their 1970 album Kiln House, Album and written by guitarist Jeremy Spencer who departed the band in 1971 to join the Children of God Sect.

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There’s a kind of clarity and calm in Joan Shelley’s music that feels especially welcome in these fractious times. Her crystalline voice, with just a touch of vibrato, glides over soft finger style guitar, with melodies and imagery that seem to spring from traditional folk yet are her own. “Rest up baby, lay back now / Here the hands, here the mouth,” she sings in the opening track of her new album, Joan Shelley. “If you were made for me . . . then we’d be home.”

In spite of what its self-titling might suggest, the album Joan Shelley, produced by Wilco’s Jeff Tweedy, is not a debut—it is Shelley’s fourth solo release since 2012. She comes from Louisville, Kentucky, and is deeply connected with the music community there, with regular collaborators including Cheyenne Mize and Julia Purcell, with whom she formed the old-timey trio Maiden Radio; singer-songwriters Will Oldham (Bonnie Prince Billy) and Joe Manning; and guitarist Nathan Salsburg, her main accompanist these days on record and onstage.

On her breakthrough album, Over and Even (2015), and on Joan Shelley, Salsburg’s guitar lines blend so seamlessly with Shelley’s that the collective sound is like one instrument played by four agile hands. One reason they match so well is a shared love of British Isles folk—in her case, particularly singers such as Vashti Bunyan and Sandy Denny, and in his, guitarists such as Dick Gaughan and Nic Jones .

Where I’ll Find You – Later… with Jools Holland – BBC Two

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This is the 2nd album by Black Needle Noise with our friends Zialand, Kendra Frost, Andrea Kerr, Jennie Vee, Mahsa Zargaran (Omniflux), Mimi Page, Ana Breton, Bill Leeb, Sivert Høyem and Dr Strangefryer

The brillant music of legendary artist-producer John Fryer is released under the moniker of BLACK NEEDLE NOISE with the album ‘Lost in Reflections’.

He is best known for producing and shaping the sound of Cocteau Twins, Depeche Mode, and numerous other artists from Mute Records, 4AD and Beggar’s Banquet and later on Nine Inch Nails, Love and Rockets, Cradle of Filth, and many more. But he is also known as 1 of 2 founders of 4AD legacy-group This Mortal Coil, together with Ivo Watts-Russell. This new album continues that legacy, with John Fryer teaming up with a series of brilliant vocalists for this collosal project.

This album arrives on the tail of news of John Fryer’s release with legendary David Lynch muse Chrysta Bell (also starring as Special Agent Tammy Preston in the new Twin Peaks series). They have paid “homage to the infinitely haunting and enduring music of Twin Peaks” in the form of a cover of ‘Falling’ by Julee Cruise, Angelo Badalamenti and David Lynch.

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There’s still plenty of the rustic, new-age hippy charm in First Aid Kit’s appearance, but the one thing that’s noticeable as they launch into ‘Wolf’ from their 2012 album The Lion’s Roar is that there is a new swagger in place.The sisters from Stockholm, Johanna and Clara, feature a notable shift in presentation in the form of Johanna’s move to bass guitar from keyboard/synth. Furthermore, their music seem to now slither with a hitherto unexplored groove; bobbing up and down,Whilst they dig deep into their own catalogue – which includes a heart stopping rendition of ‘Ghost Town’ – they also take time to dig out an old 70s classic. ‘The Gambler’ is tackled with vim, vigour and it’s fair to say that it is one big winner with the festival crowd. Promisingly, new song ‘It’s A Shame’ is quickly greeted like an old favourite. Unlike ‘You Are The Problem Here’, this is in keeping with the tone and format in which devotees of First Aid Kit are familiar.

They close out with the double whammy of old favourites and trademark songs, ‘Emmylou’ and ‘My Silver Lining’. Their rise is unstoppable and they are doing it on their own terms. Wonderful.

First Aid Kit live at Glastonbury Festival 23rd June 2017.

Musicians: Scott Simpson, Melvin Duffy, Steve Moore.
Setlist:
1. Wolf
2. Master Pretender
3. Waitress Song
4. The Lion’s Roar
5. You Are the Problem Here
6. Ghost Town
7. King of the World
8. The Gambler (Kenny Rogers cover)
9. Stay Gold
10. Emmylou
11. My Silver Lining

Radiohead at Glastonbury

Radiohead headlined the Pyramid Stage of Glastonbury 2017 on Friday night with an astonishingly mesmerising – if not a little unruly – set in what resulted in an utterly compelling two hours and 25 minutes.

The performance came on the 20th anniversary of Radiohead’s first headline set at Glastonbury, a reminder of the reissue of the iconic album ‘OK Computer’ and a statement of intent of the band’s utter dominance.

Absorbing, challenging and achingly beautiful – Radiohead delivered a typically Radiohead sort of set for Glastonbury’s opening night. The Oxford quintet emerged, bathed in white light, to the haunting piano refrain of Daydreaming, from last year’s A Moon Shaped Pool album.

Two hours and 25 songs later, they closed with Karma Police, singing: “For a minute there, I lost myself.”

Such is their confidence, Radiohead’s set list was nothing short of experimental, eclectic and downright enthralling. Tracks such as ‘No Surprises’ tempted Thom Yorke into a brief political outburst when he ominously pleasured the crowd with “see you later, Theresa” as the song, with lyrics such as “bring down the government, they don’t speak for us,” came to a close.

Opening with ‘Daydreaming’ from 2016 record A Moon Shaped Pool, the band indulged fans with favourites such as ‘Airbag’ and the aptly titled ‘Pyramid Song’ before Yorke couldn’t resist busting out his new dance moves during a revised version of ‘Idioteque’.

Encore one saw the likes of ‘No Surprises’, ‘Nude’, Paranoid Android and Fake Plastic Trees before the second and final encore welcomed the three big hitters: Lotus Flower, ‘Creep’ and ‘Karma Police’ the last of which left the crowd and Yorke singing: “For a minute there, I lost myself.”

Thanks to faroutmagazine