Posts Tagged ‘singer songwriter’

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Lauran Hibberd works up a sweat to end the year with ‘Sweat Patch’, the latest slacker pop number to follow her debut EP, ‘Everything is Dogs’, released earlier this autumn.

“’Sweat Patch’ is arguably a song about drugs, but it’s not like I’m trying to be cool about it,” she says of the track, released today. “I’m pretty much frigid with anything unprescribed. But because of that, this song is based on my idea of that world. There’s loads of songs about getting high, not as many songs about watching and I guess analysing other people do it. I guess this is me, soberly sat in a room watching all of my friends take drugs. I guess there’s also a nod to the elephant in the room, A DUDE. There’s always a dude! And I guess this song stemmed from me being into this guy, but he was pretty much into other things more.”

Released on: 2019-11-07

Margaux is a singer-songwriter living between Seattle and Brooklyn, NY. Brooklynite, Margaux Bouchegnies, Aka simply Margaux to the record buying public, is set to release her lengthily titled debut EP, “More Brilliant Is The Hand that Throws the Coin”, next week. Ahead of that release, this week Margaux has shared her latest offering, “Cave In”.

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Cave In a fascinating game of two halves, starting life all airy and intricate, like those lo-fi early Angel Olsen recordings, before suddenly exploding into life at the fifty second mark when a rumble of claustrophobic bass slams into view. From there the track, starts to gently distort and warp, reinventing itself as a slice of emotive 90’s rock nodding to Julia Jacklin or Snail Mail. Lyrically, the track seems to deal with a futile attempt to reinvent yourself in the eyes of another, one second, “climbing out of somebody’s memory”, the next, “haunted by the same old, same thing, everything”. A track that’s got more intriguing ideas going on than many people’s whole albums, Margaux is arriving in style and doesn’t look like going anywhere.

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More Brilliant Is The Hand that Throws the Coin is out November 15th via Massif Records.

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A remixed and pumped-up version of ‘Heat Rises’ from Yanya’s superb debut LP Miss Universe results in ‘H34T Rises’. Not that we needed convincing on the original cut but this new edit gives the track a beefier, more electro driven feel. Peep the video shot in Istanbul too.

She emerged in May 2016 with an elegant take on the Pixies “Hey” and followed it up with two stunning songs of her own, “Small Crimes” and “Keep On Calling”. In the space of three songs she outlined her aesthetic – sparseness, deftly intricate guitar and vocal melodies and brilliantly observational lyrics.

Yanya cites Nina Simone, Jeff Buckley and Connan Mockasin amongst her influences She grew up in West London and her parents are both artists, coming from a multi-cultural heritage of Turkish, Irish and Bayan. Yanya started learning the piano at the age of six but at twelve realised a long held ambition to learn the guitar. Her Mother encouraged her to take up the cello at the same time, which Yanya persevered with for a few years, but the practical issues of carrying it, coupled with her emotional attachment to the guitar led her away from classical music.

Inspired by her sister’s CD collection, in her early and mid-teens Yanya developed a taste for skater-rock and indie bands but discovering a passion for Jazz was the eureka moment, the trigger for the type of expression she was looking for as a songwriter. After taking her A Levels Yanya got a scholarship, started performing her songs and now, is one of the most exciting new talents around.

Orindal Records is proud to present the first vinyl release by Chicago singer/songwriter/guitarist Julie Byrne.

The first time we heard Julie’s debut cassette, You Would Love It Here, It’s The Perfect Place For You (Solid Melts), we immediately fell in love with her gentle, understated folk songs. Accompanying herself on a fingerpicked acoustic guitar, Julie sings about memory, hope, and coping with loss. There is restraint and measure in her singing and playing, and both ache with the same fragile beauty.

The two songs on this brief EP tell a complete story; “Holiday” recalls a New Year’s Eve in New York City, future plans made, and the fall-out of a fleeting romance, while the b-side, “Marmalade,” carries a dimming torch into the future, through changing seasons, bringing peace and closure to uneasy memories.

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Faster or Greener than Now was recorded live to tape on an April afternoon by Owen Ashworth. Vintage echo and spring reverb effects were added to color Julie’s performances, lending a haunted atmosphere to these raw and intimate recordings.

The title of this record was taken from a Frank O’Hara poem.

Originally released December 4th, 2012

Songs, vocals & guitar by Julie Byrne

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The descent into darkness is a trope we find time again across history, literature and film. But there’s also an abyss above. There’s a winding white staircase that goes ever upward into the great unknown – each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen. The singer-songwriter’s artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Angel Olsen was more concerned with a different kind of path, and on her vulnerable, new album, “All Mirrors”, we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance.

By her usually prolific standards, it’s been a long time between albums for Angel Olsen. “All Mirrors” is her first album for three years – an epic gap given that she used to average an LP a year in the early stage of her career. As usual, Olsen has redefined her sound once more, offering up impassioned songs that come backed by bold, wall of sound style production from John Congleton.

There are many moments of stirring intensity, where swirling strings, eccentric electronics and low-slung indie-rock grooves join forces to create stunning and arresting musical works of art. The more contemplative moments often sound a little like “Mezzanine”-era Massive Attack or Portishead, though Olsen’s voice and Congleton’s production are always unique enough to make comparisons with those bands moot.

The mid-album ballad, “Spring.” Over warm, gently warped piano, Olsen opens with advice: “Don’t take it for granted, love when you have it,” she singe, before observing almost in passing how quickly time flies: “Remember when we said we’d never have children, I’m holding your baby now that we’re older.”

For anyone who’s ever invested too heavily in a hypothetical future, or mentally broken apart every minuscule bit of a fresh and failed romance, that lyric can be a terrifying reminder that we will never know what will happen next. Olsen says as much in the next few lines: “I’m beginning to wonder if anything’s real, guess we’re just at the mercy of the way that we feel.”

Her message never veers into existential-panic territory, though, instead held steady by the song’s even-paced, rolling rhythm, and Olsen’s fuzzy vocals, hovering like a reassuring guide. She ends her gentle journey on the only piece of certainty she has access to: the fragile and fleeting present. “So give me some heaven, just for a while,” she sings, before her falsetto takes off into the heavens: “Make it eternal, there in your smile.”

“Spring” is the song that stayed with me the longest, through my dozens upon dozens of replays lying in my darkened bedroom, cooking with my roommates in my kitchen, singing by myself in the shower, like a forever-looping Twilight Zone-ish theme song. There is no true rhyme or reason to anything; there are just things that happen to us and people we meet, and we should try to enjoy everything while it lasts. It may not be a satisfactory revelation and — don’t get me wrong — it will emotionally wreck you. But once the tides of perpetual uncertainty subside, it’ll feel quite freeing.

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A year ago, Melbourne musician Grace Cummings started playing her own songs armed with nothing but an acoustic guitar and a harmonica. She has since fascinated local Melbourne audiences as she sings simple and honest songs with a powerful recklessness. Within a year she has shared bills with the likes of J Mascis and Do Re Mi as well as a breakout performance Boogie Festival. Her very first collection of solo songs will be released by Flightless Records in late 2019.

Grace comments ,A little while ago I started playing my own songs and writing more and more of them.
I went over to Jesse Williams’ house and recorded a bunch of solo songs in an afternoon… These have become my first album.

I am lucky enough to have it put out by Flightless Records who are the absolute coolest. The album ‘Refuge Cove’ comes out November 1st.

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The voice and the space between the words are unmistakably Josienne Clarke. ‘Things I Didn’t Need’ is a powerfully brittle love song. The arrangements of all the songs are barer than the chamber folk of SEEDLINGS ALL, Josienne’s stunning 2018 duo album with Ben Walker. There is room to hear every emotional syllable and nuance with voice, strummed electric guitar and some atmospherics to make the whole thing crackle. The effect is hypnotic, giving weight and power to every word.

Expect to hear these tracks soundtracking poignant moments in arty TV dramas soon. ‘Season And Time’ features a beautiful picked acoustic and Clarke’s wonderfully melancholic voice with some wonderful lyrics. ‘Never Lie’ adds some atmospheric textures and layers to Josienne’s fine voice and guitar, building a wonderful soundscape. Three tracks, individually sublime, also act as a starter, hinting at the rich treasures and sounds on Josienne Clarke’s forthcoming album that she describes as filled with misery, anger and a, longing for better.

Opening lines can be so crucial to a song, the way they set a mood, create a scene and instantly plant the listener squarely in the centre of proceedings. “You’ve got your problems but I’m the one that needs to change”, is how Josienne Clarke’s new single, If I Didn’t Mind, greets you. Instantly thrusting you into the centre of a failing relationship, a row so instantly real you feel like you’re going to be ducking flying plates and pulling your hands out of the ways of slammed doors. The track is lifted from Josienne’s upcoming debut album, In All Weather, a record about pulling yourself out and starting again, “I exiled myself, moved to an island, metaphorically and literally; broke up with everything but songwriting, to re-make myself and learn to let it all go in peace”.

Built around a fluttering bass-line, and rolling drum beat, most of the track’s melody is carried by Josienne’s vocal. Throughout there’s a calmness and a strength to the delivery, that doesn’t disguise the hurt underneath, almost if Josienne is steadying herself determined to make her point. Discussing the album as a whole, Josienne has suggested In All Weather is, “a manifesto of how to leave and how to change”, a series of songs about breaking-up and crucially about moving on, on this evidence one enthusiastic writers claim that these are, “the best break-up songs since Blood on the Tracks”, might actually have some legs.

In All Weather is out November 8th via Rough Trade Records.

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I am regularly astonished by the vividness of the imagery Bianca Blackhall’s music creates in my mind. On her debut self-titled EP, she demonstrates her prowess as a teller of stories imbued with the textures of our country’s vast and varied landscapes.

The slow burning ‘Sharks’ simmers and heaves, and the members of Blackhall’s band melt together to form one swelling organism. The clamorous blare of a CFA siren slices through the haze at the song’s peak, before the surging tide turns and ebbs and the waves subside.

From the Apple Isle comes Bianca Blackhall and her four piece band, stepping into the fracture of alt country and moody pub rock. Propping up shimmering vocals with lurching rhythms and wily guitar, Bianca Blackhall brings you music of the lucky country – it’s land, loss and love. Songs to lean back and have a long guzzle of your Cascade to. Grief and apathy. A commentary of Australian life from the bewildered perspective of a 27 year old woman.
The band have played every dog-eared pub in Hobart as well as Falls and Unconformity Festival. Their first EP is out in July 2019 and can be found on band camp.

Debut single from Tasmanian artist Bianca Blackhall.

Band Members
Bianca Blackhall -vocals
Nick Milnes- lead guitar
Trent Thomas – bass
Hans Christian Ammitzboll – drums

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Melbourne-artist Sandy Hsu releases her stunningly bold and soothing new EP, “She Comes to Me in a Fever Dream”.

In the lead up to Sandy’s new EP, her single Angel Energy has reached #2 on the AMRAP charts, and the vivid and nostalgic Limbo was premiered by Frankie Magazine and featured on Purple Sneakers who described her music “beautifully effortless”. A transitional and reflective release, She Comes To Me In A Fever Dream explores themes of tenderness, strength, femininity, change and self-reconciliation. Sandy describes the release as having ‘many moments of inward looking, observing my own growth and possibly how that reflects outwardly’.

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Taken from the forthcoming EP She Comes To Me In A Fever Dream (Healthy Tapes), Sandy Hsu’s second single ‘Angel Energy’ is a reminder that change, while potentially overwhelming, can also be beautiful.

Hsu has realised that she knows nothing, and has accepted this, embracing growth, learning and transformation. Hsu’s lyrics bleed self-awareness, sometimes harshly so, and she threads them delicately through a swirling, ethereal mist.

Sandy Hsu’s upcoming EP She Comes To Me In A Fever Dream is out via Healthy Tapes digitally and on limited cassette on September 26th.

releases September 26th, 2019

Written, Produced and Performed by Sandy Hsu

“Break the rules you think you are bound by.”

That’s the recurring sentiment Lætitia Tamko carried with her through the writing and recording of her second album under the Vagabon moniker. Her first, 2017’s Infinite Worlds, was an indie breakthrough that put her on the map, prompting Tamko to tour around the world and quit her job in electrical/computer engineering to pursue a career in music full-time. Tamko’s self-titled Nonesuch Records debut finds her in a state of creative expansion, leaning fully into some of the experimental instincts she flirted with on the previous album. This time around, she’s throwing genre to the wind. Vagabon is a vibrant culmination of influences, emotional landscapes, and moods; a colorful and masterful statement by an artist and producer stepping into her own.

Following her 2017 debut Infinite Worlds, Vagabon (aka Laetitia Tamko) became one of the most distinct voices in indie rock. Her husky alto is warm and unforgettable. Now add indie pop to that faction of genres. Her next album, a self-titled effort, breezes through synthy breakdowns and horn numbers with ease, never content to be just one thing. Tamko’s voice remains each song’s focal point, especially on the bouncing pop numbers, but the album as a whole feels most like a low-lit mood. Hypnotic and transportive, Vagabon feels even more like Tamko’s arrival than her warmly received debut.

releases October 18th, 2019

Produced by Laetitia Tamko