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Amber Bain’s music is all soft hues and bruises, the kind of stuff that teenagers die for and that adults who still relate to teenage emotions chase like dreams. Of course this shimmering, achingly gorgeous debut album was co-produced by the 1975’s co-musical mastermind George Daniel — after hearing it, how could it not? I can’t wait to hear what she’s going to do next.

If it feels like Amber Bain’s nom de plume has been everyone’s lips for the last few years, it’s probably because it has been. Tipped as far back as 2015, the Buckinghamshire-born singer-songwriter has received vocal support from Dirty Hit label mates The 1975, and even made the BBC’s Sound of 2017 longlist. But after four exquisitely-layered EPs of dreamy alt-pop, 2018 is poised to be Bain’s breakthrough year. Having spent the tail-end of 2017 in the wilds of Wisconsin, recording her debut album at Bon Iver’s studio, she’s hoping to unveil the results this coming summer.

The Japanese House – Maybe You’re the Reason from the album “Good at Falling” – Available Now

Originally the solo project of Elise Cook, Soot Sprite have evolved into a three piece shoegaze/ dream pop outfit for their sophomore EP ‘Sharp Tongue’ with drummer Matt Tiller and bass player Ross Becker (now joined live with bass player Sean Mariner). for this new EP, which released last month on 12” vinyl and digital platforms.

Sharp Tongue is the second release by Soot Sprite but the first by this lineup and it offers a chill but personal blend of bedroom pop and shoegaze that fits the mood whether you’re feeling reflective or relaxed.

Sharp Tongue 12″ EP out 11th October on Specialist Subject Records

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The Band

Elise Cook – Guitar / vocals
Sean Mariner – Bass / backing
Matt Tiller – Drums

Released October 11th, 2019

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Formed in 2016, Lemondaze started as a project inspired by the bands of the 90s shoegazing era. Developing their sound over the next few years, Lemondaze have cemented their shoegaze sound with nods to trip hop, post-punk and break beat. Originally from Cambridge, Lemondaze translate a dark and intense eruption of swirling guitars underpinned by thundering bass lines and hypnotic drums.

The band are now beginning to settle to life in london’s dingy music hotbeds. the band, after two years of stop and start gigging have finally master-crafted their debut single ‘Neon Ballroom’. this band echoes similarities with staple indie bands such as wolf alice, whose influence is so engrained in the track’s opening sections, similar to much of wolf alice’s early ep’s.

Lemondaze’s shoegaze anthem feels like you’re intrinsically stuck in an ethereal lucid dream loop consisting only of fuzz pedals & 90’s indie movies – the track is simply cosmic from start to finish with looping guitar lines, calmed fuzz interference and hypnotic harmonies. elements of noise and shoegaze are entwined to present a fresh take on a trend that has been tried and tested so many times before, and by all means, polished by the east anglian 3-piece.

having shared stages with the likes of gengahr, hinds, bloody knees and piroshka, including recommendations from wolf alice, lemondaze are set to be a band to look out for over the next year,

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released November 15th, 2019
Written and performed by Lemondaze

Foundlings are a London / Brighton based band who play melodic, guitar-driven, indie-rock. In support of their debut release – double a-side single, ‘Misery’ / ‘Your Sister’ – the band embarked on their successful first U.K. tour, with performances in London, Brighton, Glasgow, Manchester and Sheffield. ‘Misery’ was selected by Steve Lamacq for his 6Music Recommends playlist and by Tom Robinson for the BBC Introducing Mixtape. The track received nationwide airplay on BBC 6Music, Amazing Radio and various other stations; Lamacq described the band’s sound as, “breathless indie pop.” The tracks have an insistent, guitar-driven energy across which the vocals are lifted, setting the tone somewhere between urban style and sweet nostalgia.

Foundlings’ eponymous debut EP is the band’s first release on Scottish label Last Night From Glasgow.

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Band Members
Amber, Bryan, Matthew and Oliver

released March 1, 2019

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The lead singer of beloved heartland-punk band The Gaslight Anthem, Brian Fallon steps away from that sound and into a stripped-down Americana space on his third solo album, Local Honey. Produced by Grammy-award winning producer Peter Katis (The National, Frightened Rabbit, Death Cab for Cutie), the album showcases Fallon’s songwriting in small vignettes, from a loving devotional for his daughter to a vengeful murder ballad.

Brian Fallon’s new album ‘Local Honey’ is available on CD and LP. “Every single song is about right now. There’s nothing on this record that has to do with the past or even the future, it just has to do with the moments that are presented and things that I’ve learned and I’m finding in my day to day. This record is 100 percent about the day today. It’s not about these glorious dreams or miserable failures, it’s just about life and how I see it.” – Brian Fallon

I’m thrilled to announce that my third studio album, Local Honey, will be released on March 27th. You can listen to the first track “You Have Stolen My Heart” and preorder the album now. Also, I will once again be joined by the Howling Weather for a tour starting this Spring, and Justin Townes Earle and Worriers will be supporting us on this run.

 

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It takes roughly 10 seconds to fall in love with Australian band U-Bahn. If you miss early Devo, then you’ll adore U-Bahn. as they come stomping into 2019 with a collage of glam-pop and new wave. Describing their music as ‘nostalgia for futures that never came to pass; suburban boredom and sexual dystopias’, this Melbourne 5-piece will thrill and baffle audiences alike with their debut LP, teeming with futurist art-punk.

Originating from singer Lachlan Kenny’s bedroom recordings, a chance meeting between him and Zoe Monk over the purchase of a vintage drum machine, followed by the recruitment of Leland Buckle, Jordan Oakley and Mitch Campleman, the band quickly honed their live show before taking their ideas to the stages of the Melbourne DIY circuit. Kenny was eager to set down their ideas on vinyl; crafting a suite of self-recorded and mixed songs that’s charm lies in their lo-fi production values. Bubblegum centrepiece “Right Swipe” is draped in reverb, analogue synths and off-beats – while their clear penchant for melody and memorable hooks shines through the bizarro aesthetics. Its addictive chorus shows the band can leave you humming despite their abstract thinking; the synths and bass swirl around Kenny’s ironic/serious lyrics, ‘baby you can’t resist the manipulation’.

The band approaches song writing like children at play; open to anything, delighted with results that seem weird or amusing. This methodology, along with their clear love for outsider art, Devo and R. Stevie Moore – the aristocratic glamour of Brain Eno combined with the icy robotics of Kraftwerk; the wild ride of genres and ideas that define U-Bahn’s style is steeped in a heritage of music’s strange and unforgettable mavericks.

Second single from U-Bahn’s S/T debut album, released through Future Folklore records.

Undoubtedly the highlight on the “Tiny Changes” Frightened Rabbit tribute album—a record that was almost finished before lead singer Scott Hutchison’s tragic death and one that took on a completely different meaning by the time of its release about a year later—Julien Baker slows down the Midnight Organ Fight album opener, turning the upbeat rock song into something much more her own. Beginning with the guitar atmospherics that dot the entirety of her own material, it proceeds to build to a huge crescendo, only to completely lose almost all the instrumentals for the final chorus. Where the original’s finale seems hopeful that maybe, just maybe, Hutchison’s ex will give him one more chance (“You should sit with me and we’ll start again / And you can tell me all about what you did today”), Baker’s version knows the answer and you can hear it in her voice, distant and longing.

Taken from Tiny Changes: A Celebration of Frightened Rabbit’s ‘The Midnight Organ Fight’

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If Winona Ryder’s Beetlejuice character Lydia Deetz formed a band, that band would be Secret Shame. The North Carolina-based group’s sophomore LP Dark Syntheticsdraws on ’80s goth and post-punk, but brings it into faster and brighter territory. Singer Lena Machina’s dramatically melancholy vocals roar over layers of reverb and swirling, slashing guitar riffs, creating a sonic vortex that swallows everything in its path.

“There’s a rage trembling under the group’s chiming post-punk, which winds itself around an ultimatum about self-preservation…” – The New York Times

“Secret Shame channel both the tragic beauty and spooky ambience of a graveyard.” – Paste Magazine

“Secret Shame’s new album Dark Synthetics is a seven-song tempest of guitar-driven dark post-punk in the vein of Skeletal Family, Rubella Ballet, and Look Back in Anger.” – post-punk.com

“The band thunder around Lena like a horde of bats…” – bandcamp.com

“I can’t get over the vocals – they soar high above many out there right now. Not only am I transfixed by the vocal tone, but also the driving and intense music that the whole band creates.” – CVLT Nation

“Secret Shame make gloomy, melodic rock steeped in ’80s goth and post-punk.” – BrooklynVegan

Originally released September 6th, 2019

Lena – vocals, lyrics, synth
Matthew – bass, synth
Nathan – drums
Billie – guitar, synth
Ryynikki – guitar

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David Berman, the former head of Silver Jews, spent his entire 40s rarely leaving the house, barely doing more than reading and sleeping. If it’d been any other artist, I would’ve been suspicious towards those kind of press infos. But not with Berman. For everyone not familiar with his work yet: Silver Jews were the epitome of brilliant, literate, freak americana solitude – a legend for the outsider music scene in America. In 2009, Berman decided to end all that. He quit music alltogether and celebrated his retreat as relentlessly as he created his music before. The reason for him to pick up the guitar again was the death of his mother. And it culminated in one of the essential tracks of this comeback record as Purple Mountains: I Loved Being My Mother’s Son. A sparse but still pars-pro-toto-track for Purple Mountains. Backed by indie rock band Woods, Berman crafted some of his best songs ever on this record and imprinted them with a new-found wisdom of the finite.

David Berman died by suicide only a month after Purple Mountains was released and it’s actually pretty devastating, that he had to remember us first how much he and his music will be missed. But then again, it feels appropriate for the way Berman approached his artistic life with. His songs have always been stubborn, sardonic observations of his own complicated depression and the havoc it wreaked regarding his relationships. Purple Mountains develops that. At the heart of it: I Loved Being My Mother’s Son: A crushing statement of helplessness in light of death.

Apart from all the witty, tattoable one-liners (if no one’s fond of fucking me, maybe no one’s fucking fond of me – a line that mirrors the dialectics of 2008s My Pillow is The Threshold: first life takes time than time takes life), Purple Mountains is Berman at his most vulnerable and can’t be unread as a final statement now that he’s dead.

When the dying’s finally done and the suffering subsides/All the suffering gets done by the ones we leave behind“. But, and that’s the last lines David Berman gifted us: „I’ll put my dreams high on a shelf/I’ll have to learn to like myself/Maybe I’m the only one for me/on holidays“. It is that time of the year to reflect on that. Putting on Purple Mountains once in a while might help learning.

10 additional acts added to Endless Daze 2019 lineup

London-based Yak, who has been touring their full-length album “Pursuit Of Momentary Happiness”. There has always been an element of chaos to Yak and their approach that they took to a new level with their recent album. The result is a rare white-knuckle ride of an album in which an extreme commitment pulsates through every moment  much like Spiritualised’s Ladies And Gentlemen We Are Floating In Spaceand Tame Impala’s Innerspeaker, both of whose creators had a part to play in the album’s genesis – ranging from the gonzo-fuzz chaos of tracks like “White Male Carnivore” and “Bellyache” through to the Roy Orbison-inspired heartbreak of “Words Fail Me”.

Performed live at ENDLESS DAZE FESTIVAL SILWERSTROOM RESORT, SOUTH AFRICA 1st-3rd November 2019