Image may contain: 1 person

It’s getting soon to the release date! It’s been weird to have an album coming out during this time, but in a way it’s been really nice to have something to work on and keep me level headed.. it’ll be our June 5th.
“I was named after you. Oh, where’s the strength that I’m meant to get from you,” sings Brigid Mae Power on I Was Named After You. In a lesson of empathy and the power to change, the Galway singer-songwriter teaches us in three short verses that great emotional obstacles can be overturned: “And now I’ve no doubt why I was named after you, cos it’s the vulnerability that did mend the situation in the end.”
“Head Above the Water” is the semi-autobiographical third album from the folk-country singer. It was recorded in Glasgow and produced alongside Scottish folk musician Alasdair Roberts and Power’s husband, Peter Broderick, formerly of the Danish indie group Efterklang, Power takes the intimate details of her life – the small moments that change everything – and gives them a certain grandeur. Her lover asks her: “City lights or country skies at night, which do you prefer?” on the opening track On a City Night. A question so simple in its answer, the pair decide where to live together as a team – “The city suits you on a city night” – their union cemented.

With a shrewd eye, she can home in on the decisions – often hard to make – that lead to a healthier life. I Had to Keep My Circle Small is a tale of stoic self-preservation, and her reworking of the traditional song The Blacksmith shows the catastrophic repercussions of lying. Not Yours to Own comes laden with advice to fight for your space in the world and to make sure that your voice is heard, whether it’s a whisper or a shout.
Lyrically she shows incredible caution in not just examining her own feelings but the feelings of others, too. The songs We Weren’t Sure and You Have a Quiet Power demonstrate the virtues of remaining patient when it comes to matters of the heart. Her windswept voice always leads the way in songs that are never pushed beyond a gentle strum of a guitar or a brush of a bodhrán, which means that the weight of her words lands without any confusion. “I wrote the lyrics for Wearing Red That Eve one day when I was sort of spacing out the window thinking about old memories and instances where I have been wearing the colour red.. It’s sort of a dream like song that drifts between truthful and imagined scenarios…”

As the title of the album – and the closing track – suggests, life rarely dishes out an easy hand to anyone but it’s how you face the struggles that matters. Even if she sometimes feels out of her depth, Power remains focused. No decision is rushed and conclusions are reached organically. Softly delivered, these are hard lessons that we should all learn in time. 

‘Wearing Red That Eve’ is Brigid Mae Power’s new single, from her upcoming album ‘Head Above The Water’ (Out 05/06/20)

Image may contain: one or more people, people standing, sky, tree and outdoor

Scandinavian group Hater return with new single ‘Sift’, a track originally planned to support the now postponed US Tour with Radio Dept. Radiating with elegant pop and classic rock hooks, ‘Sift’ is effortlessly melodic with stunning guitar work and a twinkling melancholy. Their noise-pop charms bring with it a darker undertone. The four-piece are currently working on their next album and follow up to 2018’s ‘Siesta’ set for release in early 2021. “Sift” triangulates the sweet spot between light indie-pop melody and heaviness. According to the track’s description on Bandcamp which Stereogum is quoted in — it’s “a song about love, the human condition and the dimensions within these relationships.”

Footage taken from the Prelinger Archives, edited by Caroline Landahl.

Order Hater’s Music:
‘Four Tries Down’ (2019), ‘Siesta’ (2018),’Red Blinders’ (2017)

Image may contain: 1 person

From the upcoming album “Azure”, Vinyl Williams‘ presents the kaleidoscopic rocker “Mithras” The track has a particularly dense universe of sounds. Williams (aka Lionel Williams) crafts what he calls Celestial pop or space rock and both descriptors fit. Mithras moves on fast paced shifting drums, guitars lines / patterns that seem to be sparring with each other, counter punching while the bass deftly twists and turns in between and through them. It is progressively wrought while Williams vocals do the opposite, he sings in long hushed sustains, mantra like, hypnotic pearls of wisdom:

“Let the acting be divine / Let parallels collide / In eternal lines divine / An everlasting vexation / Back stabbing the world”

The music tussles while he sings. The drummer pulling off spiraling fills. But after the lyrical bed which moves linear without any verse / chorus pattern, the song shifts once more into a series of swelling down beats as guitars attack but mellow ways. Then a slightly ramping tempo and more divergent shifts in tone, in sounds swirling about and lyrics this time at a faster pace like Williams universe is in expansion and then the drum rolls to a final crash.

Vinyl Williams’ anticipated LP Azure is set to release June 5th 2020 on Requiem Pour Un Twister. After collaging hundreds of paintings together in a string of new artwork, Williams combined over 25 paintings just to create the album art for Azure; attempting to equally represent the complexly organic & decadent music apparent on the record. It was recorded from 2018-2020 in Los Angeles, at three locations of Non Plus Ultra (Los Angeles venue).

The first single is a wild harmonious odyssey, and out toady. Check out the track and immersive interactive world created by Williams, “Azure” marks a point of higher equilibrium for songwriter Lionel Williams, employing far more restraint & rapidity than his earlier releases, as well as a concentration of unifying paradoxical qualities. The last record, Opal (2018) received critical acclaim by Pitchfork and was listed on NME’s best of 2018 list. Vinyl Williams’ earlier releases are cult favourites for their incessant bliss & driving rhythms, such as Brunei (2016) & Trance Zen Dental Spa (2015 – collaboration with Chaz Bear of Toro Y Moi).

Williams is equally known for his interactive video worlds, 360º videos, web art, and downloadable environments, inhabited by hyper dimensional palaces you might find in an ultimate future. Azure will be accompanied by a fully-interactive website, where the audience can discover secret symbols hidden in the world, to advance and get to each next song. Vinyl Williams’ live show is a spectacle of pearlescent sights & sounds, with all of Williams’ work combined & sync’d together in rapturous hyper-dimensional moments. He has created virtual music videos for Tears For Fears, Unknown Mortal Orchestra, Spaceface, Morgan Delt, & several other artists.

In the end, “Mithras” is a beautiful life affirming exhaustion.

Image may contain: one or more people, shoes, indoor and outdoor

Talker is the grunge-pop project of Los Angeles-based Celeste Tauchar. The name is a nod to her last name, notorious in her family for being misspelled and mispronounced. Starting out touring and playing for other bands including electro-pop group FRENSHIP, Tauchar quickly gained extensive performance experience at venues and festivals like Red Rocks, The Bowery Ballroom (NYC), The El Rey Theatre (LA), Lollapalooza, and Outside Lands.
After years of writing and developing on an artistic & personal level, Tauchar began independently releasing music under the name “talker”, which received attention from such notable outlets as Alternative Press, Grimy Goods, We Found New Music, Buzzbands LA, and more. Her first single “Collateral Damage” reached #5 on the Hype Machine popular charts, and her single “Intimidated” was featured on Spotify’s “Pulp” playlist.

These early releases resulted in talker’s debut EP “Horror Films”, which featured collaborations with April Bender and Dan Sadin, production from Sadin and Phil Simmonds,Deeply rooted in the Los Angeles indie scene, talker has headlined the Hi Hat, Madame Siam, & Moroccan Lounge, and has performed at countless other notable venues including the Hotel Café and the Roxy. In January 2020, she embarked on her first tour up the West Coast.

http://

Spellbinding as its suspense makes sparks fly, “Personal Space” is a drama tautly-told and the grandly-imagined brand-new single from L.A.’s Celeste Tauchar, a.k.a. talker. The track concludes her recently-released, six-song Wax EP.

Originally released March 6th, 2020 . Common Ground Collective

Image may contain: 4 people

Kaleidoscope were an English psychedelic rock band from London that originally were active between 1967 and 1970. The band’s songs combined the elements of psychedelia. The band were also known at various times as The Sidekicks, The Key, I Luv Wight and Fairfield Parlour. Their debut album by Kaleidoscope. The British Kaleidoscope released titled ‘Tangerine Dream’ in 1967, at the height of flower power and psychedelia.

Both this album and their second and final album ‘Faintly Blowing’ in 1969 are, in my opinion, the absolute pinnacle of British psychedelia, popsike, anything you wanna call it. Immaculate song writing and harmonies but somehow, unbelievably, the public just didn’t get it. One of my favourite bands of all time. Obviously these days this album is a top collectable and there just ain’t enough to go round! To own a top condition original on Fontana is gonna set you back over a grand.. Ebay has a few on offer but at very high prices.

Having performed since 1963 under the name The Sidekicks, they became The Key in November 1965, before settling upon the name Kaleidoscope when they signed a deal with Fontana Records in January 1967 with the help of the music publisher Dick Leahy.The group consisted of Eddy Pumer on guitar, Steve Clark on bass and flute, and Danny Bridgman on drums and the vocalist Peter Daltrey, who also played various keyboard instruments. Most of the band’s songs were compositions of Pumer’s music and Daltrey’s lyrics. While the group did not achieve major commercial success in its time, it retains a loyal fan-base and its recordings are remembered in high regard. The band’s first single “Flight from Ashiya” (b/w “Holidaymaker”) was released on 15th September 1967 by Fontana Records, a little earlier than the band’s first album Tangerine Dream. The song was telling about an impending plane crash. The single got critical acclaim and quite an amount of radio airplay but failed to reach the charts. Years later, the song has appeared on many compilation albums, including Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964–1969, the second box set of the Nuggets series and Acid Drops, Spacedust & Flying Saucers: Psychedelic Confectionery.

“Tangerine Dream” probably has the edge as the best of this British psychedelic group’s two albums, but not by much. A long sought-after psychedelic rarity, it includes several of Kaleidoscope’s best songs: “Flight from Ashiya,” “Dive into Yesterday,” “The Murder of Lewis Tollani,” and especially the fragile ballad “Please Excuse My Face.”

No photo description available.

Two months later, Tangerine Dream also produced by Dick Leahy was released. The album included “Flight From Ashiya”, “Please Excuse My Face” and “Dive into Yesterday” which are now considered some of the band’s best songs Meanwhile the band were aired performing live on several BBC radio shows. A new single was released in 1968 called “Jenny Artichoke” (b/w “Just How Much You Are”) that was inspired by Donovan’s, “Jennifer Juniper”. After the release the band traveled around Europe, and when in Netherlands supported Country Joe and the Fish at the Amsterdam Concert Hall.

“Faintly Blowing”, again produced by Leahy, was released later, in 1969 by Fontana Records. This time the band’s sound was heavier but the tracks still included psychedelic elements with notable lyrics but it failed to reach the charts. After the failure of “Faintly Blowing”, they released two more singles.

NME 2-12-67 A letter from John Abbey: Kaleidoscope are sweeter than Pink Floyd, not so bitter as the Beatles and have more talent.  Please FONTANA re Issue these albums.

Kaleidoscope:

  • Tangerine Dream (Fontana (S)TL 5448, 24 November 1967)
  • Faintly Blowing (Fontana STL5491, 11 April 1969)
  • White Faced Lady (The Kaleidoscope Record Company KRC 001 CD, 14 February 1991)
  • Please Listen to the Pictures (Circle Records CPWL/CPWC 104, 1 September 2003)

Image may contain: 4 people, people standing and outdoor

Stockholm’s Les Big Byrd are back with their new EP “Roofied Angels” due out on June 26th on limited edition 12” vinyl and with the A-side and title track released digitally in May. Roofied Angels is the first piece of new music from Les Big Byrd since 2018’s acclaimed Iran Iraq IKEA LP outside of the instrumental “Snö-Golem” 7” from last fall and the English language version of the band’s 2017 hit “Two Man Gang” which was released in May 2019. The 7 minute fuzz-blizzard “Roofied Angels” might just be the best thing the band’s put their name to yet, melding Motörhead and Shangri-La’s influences into their krautrock infused psychedelic rock, while bringing to mind the heavier side of the band’s 2014 debut LP They Worshipped Cats and was recorded during the sessions for the band’s upcoming third full-length.
Releases June 26th, 2020

Image may contain: one or more people

Hard to believe it has been five years since Manchester based trio PINS released Wild Nights.

Again we’re a bit late to the party, but Hot Slick, their third long player will be out on 29th May via their own Haus of Pins label. Three tracks have already been shared from it (see below) and now we have Ghosting, which also features Nathan Saoudi from Fat White Family on additional keys. It is a cracking indie anthem shot through with some techno-trance vibes that dials up the sleaze factor. Re-grouped and, if the introductory stomp here is much to go by, re-charged, Manchester’s PINS return with a generous helping of sound clash business, melding filthy electro sleaze and playful rock with two deft and confident hands, the results of which should score big with fans of seductive disco sludge. And let’s face it that’s pretty much most of us. Tracks like ‘Read My Lips’ and ‘Bad Habit’ are fine examples of a dark but alluring edge this lot seem more than capable of creating, while ‘Daisies’ could almost replace Wilson Phillips to score the final scene of ‘Bridesmaids’. Which is certainly no bad thing. “We can keep going” the band threaten over ‘Ghosting”s compressed but intense rave punk. Based on this, we’re more than happy with that idea.

Hot Slick will be released on 29.05.2020

Image may contain: one or more people and indoor

I love Flyte why this band are not hugely known and selling loads of records is the understatement of all time. They’re a three-piece band presently with the addition of a occasional Stave sister  with my heart in their hands and their hearts on their sleeves. Their debut record “The Loved Ones” felt like a secret between the few, me and the band, Will Taylor and the band continually charmed and surprised. It’s a gorgeous, passionate, musically beautiful album. It’s desperate and haunting. It’s one of those covers that covers your bones. But enough about their album. The band have been touring and demoing a new collection of songs for the last six seven months and “Easy Tiger” is among them .

“Easy Tiger” is a break-up track. It’s a predator with a thorn in its paw. It’s brought low, it’s humble, it’s sad. It’s brilliant for all of that. Will Taylor has a giant vocal register, but he is so subdued on this track, the emotionalism is totally carried by the instrumentation. The music is anxious in “Easy Tiger,” while the melody is steady, rhythmic and calm. It’s the embodiment of trying to keep your cool while you see an ex at a party.

Give Flyte the love they deserve today. I reckon a new record will be dropping soon from them, so listen to The Loved Ones and their 2019 EP White Roses (If you can get a copy… I Can’t for love or money, Will )after you give “Easy Tiger” a listen.

It’s another woozy, moody exhale, “Easy Tiger is an ideal turbulent indulgence to soundtrack our moments of doubt and trouble. I fell in hard for this UK band Flyte, Iv’e seen them maybe eight-ten times and they still astonish me everytime. Please also listen to their White Roses EP and its truly breathtaking title track – one of my all-time favourites tracks for the year – and you couldn’t ask for a more striking, well-executed return than “Easy Tiger.” Soothing yet unsettling all at once, the song was written as a precursor to the emotional overhaul of a breakup, however its message feels all the more universal today. Easy tiger: This is only gonna get worse

Music video by Flyte performing Easy Tiger. under exclusive licence to Island Records, a division of Universal Music Operations Limited

 

Image may contain: 1 person, closeup

I promise that somehow things will be okay” Chloe Berry offers, cutting through calamity with her new single “Bitter Melon.” This Brooklyn-based artist is stepping onto the music scene with a vengeance, especially with her background in writing music since the age of seven. When asked about the intentionality of the track, Chloe expressed that it was written with the sentiment in mind that “everything passes eventually.” This high energy assemblage of sound is filled with the whimsical nostalgia of a coming-of-age film end-credit montage. Easing into the track, Chloe sings softly over a zig-zag of electric guitar until the percussion comes in and the track erupts into a vibrant invitation into her own escape from hopelessness. “Bitter Melon” is a precursor to promising future work to come from Chloe Berry, so get comfy and stick around.

http://

Released May 15th, 2020

Written and Performed by Chloe Berry, Drums by Anthony Genovesi

Image may contain: 1 person

Growing up with ardent Catholicism as an integral part of my identity meant repressing my bisexuality any way that I could. How does it feel to admit that you are the contradiction of what you were taught to believe? It’s a question Becca Mancari asks on “First Time,” her coming out story. Mancari comes from a fundamentalist Christian household, her father a pastor. It’s a heavy hit from the get-go, Mancari singing, “I remember the first time my dad didn’t hug me back.” Unraveling the bandages from her emotional wounds to write the track wasn’t easy, but she notes, “as soon as the first line of the song came out of me, I knew there was no going back.” The wistful song is one that I wish I’d had at fifteen when I struggled to lend myself an ounce of kindness, unable to live my truth. “Hey, did you find your way out?” Mancari asks over a homespun country folk-style plucking that harkens back to her Nashville roots. For me, the song reads like a love letter to my younger self from someone who found happiness on the other side.

On the track, Mancari says, “My hope is that when you hear this song you feel less alone, and that you do indeed find your way out.” “First Time” is the second single from The Greatest Part, her sophomore record coming June 26th via Captured Tracks. We’re hopeful Mancari will be able to tour with her Bermuda Triangle bandmate Brittany Howard this fall.