Australian alt-punk dust have released their fantastic new single ‘Joy (Guilt)’ via Brooklyn based Kanine Records, off their debut EP “et cetera etc”. Skeletal post-punk fired by an irresistible scorched and laconic spoken word delivery from dual-vocalist Gabriel Stove as, ‘Joy ( Guilt )’ gallops across the Australian outback, with echoes ofBirthday Party and Fontaines DC, meditating on the themes of mortality, family and social commentary with a hypnotic look inward that reflects the catharsis of aimless driving. Unstoppable.
“The band channel raw, razor-sharp intensity through a broad range of filters – with textural, saxophone-assisted atmospheres and off-kilter rhythms bordering new wave at times. A thrilling first release.
Formed against the backdrop of the pandemic in 2020, the project of Awabakal land/ Newcastle-based dual guitarist-vocalists Gabriel Stove and Justin Teale, bassist Liam Smith, guitarist and saxophonist Adam Ridgway, and drummer Kye Cherry.
‘Joy (Guilt)’ off the EP “et cetera, etc” out now Via Kanine Records
The eponymous debut EP by London-based dreampop duo deary on Sonic Cathedral. The six-track release is available on several vinyl variants, plus a CD with five additional bonus tracks and remixes.
A carousel of organs, oscillating ethereal vocals, and languid breakbeats, this is ‘Fairground‘ the first sublime and transportive offering from London duo deary released on Sonic Cathedral. A lullaby in technicolour they say it was “an attempt to replicate My Bloody Valentine’s ‘Soon’ but ended up somewhere in between Portishead, Felt Mountain-era Goldfrapp and early Saint Etienne.”
‘Fairground’ was produced by the band and deftly mastered by Slowdive’s Simon Scott. I can also hear the faint traces of the Cocteau TwinsTreasure- era as singer Dottie’s sumptuous dream spins amidst the twinkling lights: at once soothing and disorientating, capturing the sensory overload and anxiety of London’s teeming cityscape, standing on the edge of being besotted, taking in the wonder of and wistfulness of it all. Glorious.
This London duo’s debut single hits you right in the early-’90s, laying down Cocteau Twins-style dreampop over a funky drummer beat and baroque touches. A wonderful introduction.
With a Mercury Prize nomination for their acclaimed 2020 album “Spook The Herd” under their belt, Lanterns On The Lake today share a beautifully shot live video of their single ‘Baddies’, filmed socially distanced at The Sage, Gateshead.
Tyneside’s Lanterns on the Lake release their much-anticipated album, “Versions of Us”. This self-produced fifth studio album Its nine songs are existential meditations examining life’s possibilities, facing the hand we’ve been dealt and the question of whether we can change our individual and collective destinies.
Singer and songwriter Hazel Wilde has no doubt that motherhood fundamentally shifted her perspective. “Writing songs requires a certain level of self-indulgence, and songwriters can be prone to dwelling on themselves,” she says. “Motherhood made me aware at having a different stake in the world. I’ve got to believe that there’s a better way and an alternative future to the one we’ve been hurtling towards. I’ve also got to believe that I could be better as a person, too.”
The band also performed ‘When It All Comes True’ for the Mercury Prize BBC feature that aired last week and is available to watch further below.
Although having missed out on the prize, vocalist Hazel Wilde said of being shortlisted: “We’ve always put our hearts into the music we make – but never more so than with this album. We’re especially proud of this one. So to have it recognised in this way means more than I can say. With the tours being cancelled and everything being put on hold it was crushing to think that the record could be forgotten about. Then, right when we thought the story was over for this album, it gets nominated for the MercuryPrize. What a beautiful plot twist.”
“With this brave, political LP, Lanterns On The Lake have found their time… Hazel Wilde’s words are clear, emphatic and beautifully sung… The songs are shimmering and sharply defined; infused with melody and searing musical ideas.” MOJO – 4 stars ****
“It’s reassuring to know that raw beauty can still be found within the groove of vinyl, of which this Newcastle band’s fourth LP provides rich evidence.” Record Collector – 5 stars *****
“A glorious shot of potent romanticism… While the songs are Lanterns’ leanest yet, fusing dream pop melodies with Paul Gregory’s soaring post-rock guitar, it’s Hazel Wilde’s lyrics that quicken the pulse. If we are sleepwalking towards apocalypse, Lanterns On The Lake are here to sing us out in style.” Long Live Vinyl – 9/10
“Succeeds in painting atmospheric images, with elliptical poetry set against dreamy, FX-laden guitars, twinkly pianos and jagged beats… Lanterns On The Lake can be quietly magnificent.” Uncut
“Poised, rising and falling soundscapes… From the yearning Every Atom to the bittersweet Baddies, every track trembles with individual intensity… A Northern powerhouse.” PROG
“Mesmerising… There is an extra urgency and bite on the fourth album from a band that commonly trades in hazy loveliness… It gradually reveals itself to be rather wonderful.” The Sun – 4 stars ****
“A masterpiece… This album is all the proof you needed that their excellence was staring right at you all along, you just failed to truly see it.” Music OMH – 5 stars*****
“Musically elegant, emotionally eloquent, and absolutely vital.” The Line Of Best Fit – 9/10
Art School Girlfriend crafts a beguiling atmosphere of electronica and dance music, with illuminating synth-textures, dappling trance, and breakbeat-inspired elements, combine into an engrossing, detailed tapestry. Polly Mackey’s songwriting craft and depth is matched by a voice of knowing, longing and experience, yet it has a comfort of a Tracey Thorn, but it is her own voice that wraps itself around you like a warm duvet as she’s dealing with emotional peaks and lows.
Art School Girlfriend, Aka Polly Mackey, released her second album “Soft Landing”, via Fiction Records. The album is self-described as a series of “small euphorias”, it is an album that finds Mackey shifting her sound towards tactile electronics whilst retaining the floating melodies of her debut.
Lead track “Close To The Clouds”, follows the success of standalone single “A Place To Lie” earlier this year. “Close To The Clouds” is an integral part of “Soft Landing”, with the central refrain providing the album with its title, and the song unfurling into climbing, arpeggiated synths amidst acid-house indebted drums
Surprise! New song “Real Life” is out today. This is one of my favourites from the album, and wouldn’t be what it is without co-prod from Riley MacIntyre, strings from Chloe Kraemer + Alfie Johnson and backing vocals from Marika Hackman.
“Soft Landing” follows Mackey’s 2020 debut album, “Is It Light Where You Are?” an album made in the wake of a tumultuous time and released during one. “Soft Landing” feels like Mackey’s true debut, a record of curiosity and playfulness with songs that sound like they are falling effortlessly into place.
Audiobooks , the London duo of David Wrench and Evangeline Ling, returned with a new EP titled “Gulliver thisYear”. It included the previously released single ‘Tryna Tryna Take Control’, as well as a new track, ‘Burnt Pictures’, featuring OneDa. A charming cultural collision, this track marries impish Euro-electro pop with a slanted Talking Heads-like beats, Evangeline’s inventive, surreal, and witty flights of lyrical imagination, this time they are joined by MC OneDa whose freestyle adds a refreshing perspective.
It’s another aural riot from audiobooks who constantly delight and challenge with every release.
Body Type say their new album “Expired Candy” is “filled with hope, love, and danger, dancing with delicious uncertainty.”Australian girl gang Body Type live up to their promises because “Expired Candy” is a riot of garage punk rock delivered with a sly grin; pointed arrow to the heart. Forged in lockdown it consumes the chaos of a world swirling with division, break ups and breakdowns, populists and narcissists, and delivers an attitude, crammed with heart, intellect and hooky tunes! Big tunes like life-affirming opener ‘Holding On’ is a soaring, hook-laden track, smeared in hopeful, knowing melodies and sprinkled with jousting, joyous life-affirming choruses, where the protagonist’s longing and messy“monsoon” emotions are kept afloat by friends and aphorisms passed down by family members. Also ‘Weekend’ that’s bittersweet garage-pop jumps head first into a juddering rhythm and sing-along melody that’s almost Broadway-worthy.
‘Miss The World’ is a centrepiece, a razor-sharp garage-pop anthem born of the COVID pandemic, with scurrying Batman-theme-like guitars and pummelling drums, laced with lead vocalist and guitarist, Sophie McComish’s urgent vocals, that are both an insidiously hooky lament and a spitting ball of frustration, swirling with the tumult of isolation, claustrophobia and the absurdity of our society and culture, raging at the “unquestioning compliance and the ascent of tyrants, told through pre-teen anarchists, bichon frises, and a drum beat based on a Gwen Stefani song.”For fans of the Breeders, Courtney Barnett and Sleater-Kinney, “Expired Candy” is quite frankly unstoppable, the ace soundtrack to hanging by our fingernails and doing it anyway.
‘Miss The World’ single taken from forthcoming album ‘Expired Candy’ (Out June 2nd) now via Poison City Records
Declan McKenna has shared a cover of ABBA’s ‘Slipping Through My Fingers’, McKenna has done an acoustic cover of the song which appeared on ABBA’s 1981 album track, ‘The Visitors’. Due to high demand after a clip of the cover went viral on TikTok, McKenna has now released the full version of the track.
Sharing the song, McKenna joked: “Tomorrow my Christmas number one drops, He continued: “‘Slipping Through My Fingers (Declan’s version) out at midnight,” before adding: “it’s out and if it’s not Christmas number one I’m deleting.”
After an outpouring of requests from fans online, English singer-songwriter Declan McKenna has shared a full studio version of the cover song.
Earlier this year, a recorded segment of McKenna singing the track during a livestream performance went viral on TikTok. The clip shows the 24-year-old talent singing the song’s chorus and playing acoustic guitar, quickly drawing comparisons to a young Paul McCartney.
The unexpected interest in McKenna’s off-the-cuff cover caught the alt-pop artist by surprise. His choice to record and release the track for fans while in the midst of promoting his upcoming third album, “What Happened to the Beach?, is an unorthodox one. Still, McKenna is approaching the unpredicted, algorithm-driven success of his cover with a sense of humour.
“My full cover of slipping through my fingers is out now on all streaming platforms, I put a whole 2 and a half hours into recording and mixing this thing so please stream it as much as humanly possible
the 10 year anniversary pressing of “Love’s Crushing Diamond” which also includes a remastered version of the preceding “Cowboy’s Prayer” EP. It will be ready to ship in the spring. If there ever was an album that deserved to always be played from start to finish while lounging in the morning sun on a bed made of assorted throw pillows… then this would be that album.
Small-town dream pop band Wild Nothing is set to release their sixth studio album “Hold” next month, and their second single, “Suburban Solutions,” is a shimmering synth soundtrack of subversive suburbia—the counterpart to previous groovy single “Headlights On” (featuring Hatchie).
Wild Nothing (aka Jack Tatum) is releasing a new album, “Hold”, on October 27th via Captured Tracks. he has shared its third single, “Dial Tone,” via a music video. Min Soo Park directed the video (or visualizer as they are calling it), which features two lovers trying to find each other in a city.
Jorge Elbrecht (Japanese Breakfast) mixed “Headlights On,” which features drum production by Tommy Davidson of Beach Fossils, and backing vocals from Hatchie’s Harriette Pilbeam. Tatum self-produced Hold and Geoff Swan (Caroline Polachek, Charli XCX) mixed it. The album also features Molly Burch, Becca Mancari, and Tatum’s his wife, Dana.
“I’ve sat with this record for a very long time now, so naturally I’m both excited and apprehensive to let it see the light,” said Tatum of “Hold”in a previous press release. “It’s my first record as a father. My first self-produced record since my debut. It’s a record that deals in existential themes but doesn’t always take itself too seriously. It’s not afraid of pop but it’s hopefully not afraid to be strange either. It has fun, gets sad, dwells in the quiet moments and embraces the loud ones. It’s me doing what I love and feeling grateful for it.”
Packed with an unflinching ‘80s pop influence and a biting satire of the beloved decade, Jack Tatum’s comeback after five years of new fatherhood and the return of personal production is off to an impeccable start. The chorus delivers a jingle for a fictitious company, reassuring us to “Take a deep breath, “Suburban Solutions” has your back.” The single is the perfect merger of nihilism and nostalgia, punctuated with the promise of a colourful album we can’t wait to indulge in.
Jack Tatum’s synth-pop band Wild Nothing expands their range with some thrilling results on “Hold”. Kicking off with the rhythmic, ’90s-inspired jam “Headlights On” featuring like-minded peer Hatchie, it veers into oddball New Wave (“Basement El Dorado”) and epic romance (“Alex”) while making space for detours such as the stunningly gorgeous instrumental “Presidio” along the way. Meanwhile, Tatum sings his most personal and vulnerable lyrics yet. These new dimensions give “Hold”a strong case for best Wild Nothing album yet.
As Wild Nothing, Jack Tatum has explored just about every corner of ’80s pop, from the Cure-isms of his 2010 debut through lush sophistipop, synthpop and R&B. For Wild Nothing’s fifth album, and first in five years, Tatum has his eyes squarely on the charts, aiming straight down the middle, as in mid-’80s and the middle of the Billboard Hot 100 where some quirky stuff lurked on the edges of the Top 40 at the time. On Hold, Tatum fully embraces widescreen Big ’80s production — think Tango in the Night, Invisible Touch, Dancing on the Ceiling, Welcome to the Pleasuredome — with layer upon layer of synthetic and organic instrumentation, including such touchstone sounds as gated drums, fretless bass, and sampled orchestra hits.
If you have a fondness for these kind of visions of excess, Tatum shows a mastery of the form and it’s hard not to be impressed by the technique even if it’s not your cup of tea. Unfortunately, like much of what was produced in the ’80s, a lot of the album rings hollow. Tatum is still capable of writing stick in your head pop melodies and big hooks (“Dial Tone,” “Alex”) but, even more than on 2018’s Indigo, the songs get a bit lost in all the shiny overproduction. As an exercise in style, though, Hold is an empty calorie feast for the ears. Patrick Bateman would’ve loved it.
