Youth Club ‘Sorry’

Essex based four piece Youth Club are back with their infectious new independent single ‘Sorry’. Youth Club first caught people’s attention back in May 2014 with their self-released debut EP ʻColoursʼ, which stormed the official independent singles charts reaching 25 and hit No. 7 in the iTunes alternative charts. They have graced the stages of Radio 1’s Big Weekend, Y Not Festival, Standon Calling, Beat Herder, Shazam Summer Party and Kopparberg’s Urban Forest Festival.
‘Sorry’ is a bedazzlement of Youth Club’s beaming tropical pop. The efflux of bright animate synths give this track a magnetic pull and vibrancy. Radiating sunny warm vibes, a balmy atmosphere and smooth spring and bounce in rhythm it oozes elastic slick suave. The soulful velvety vocals adds a heavenly soothing charm and warm quality. ‘Sorry’ has pizzazz and zesty tropical textures that give a refreshing revitalising lift to this infectious track.

You can catch Youth Club live at:
Oct 08 Twisterella Festival, Middlesbrough
Oct 28 Chinnerys, Southend On Sea
Nov 03 The Engine Shed, Lincoln
Dec 14 The Borderline, London
Stream ‘Sorry’ below

This Place Is Death ‘Caught Inside’

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This Place Is Death are an three piece alternative rock band from Cork. They released an EP ‘Low Light’ in 2013, and in 2016 were signed with UK Indie label Sound Hub Records. Band members Frank (Vocals,Guitars), Barry (Bass) and Eoin (Drums,Backing Vocals) have now released their new single ‘Caught Inside’ which was recorded and mixed at Sound Hub Studios and mastered at Metropolis Studios , London.
‘Caught Inside’ is a pulverising backlash of fiery neck breaking alternative rock. With thunderous splintering drums that develop into a rapid rumple that forces its way into your brain becoming a pounding ear worm beat. Vigorous striking guitars and rooted limber bass keep the track bound and gives a boomerang spring back effect. The haunting moody vocals add an eerie danger and suppressed aggression to the track. But for me that rolling drum at the end kicks ass with its brisk demolishing finesse. Its a head banger.
Watch ‘Caught Inside’ below

Paul Dunbar & The Black Winter Band ‘Barely Holding On’

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Paul Dunbar, formerly of Liverpool 6-piece soul/rock/blues act The Midnight Ramble, has self released his debut single ‘Barely Holding On’. The single was created with producers Marc Joy (Oasis, Primal Scream) and Paul Thompson (Ellen & The Escapades). Dunbar is recording with the newly formed Black Winter Band, Tom Cowley (Drums,Percussion,Vocals) and Callum Williams (Bass,Keys,Vocals) complete the lineup.
‘Barely Holding On’ is a warm melodic track wrapped in charming country tones and drizzled with rock elements. The passionate raspy soulful vocals and catchy sway along melody teamed with soothing mellow guitar and a steady spongy beat gives the track a bright cosy yet nostalgic and emotional tone. This track is a sweet sounding tuneful bundle of passion with tender lyrics and a sweet reminiscent tone on guitar that is thought provoking like a fond distant memory that twinkles around your mind but to far to recall fully.
Paul Dunbar & The Black Winter Band have a London launch show on Fri 28 Oct at The Century Club, Soho with promoter Success Express Music.

Stream ‘Barely Holding On’ below

St Van Cortlandt & the 101 ‘Like The Arrow Miss The Stone’

St Van Cortlandt & the 101 have released the first track off their forth coming EP ‘The Lion Tree’.  The single ‘Like The Arrow Miss The Stone’ is about a “younger brother’s relationship with his older brother. It touches on the ideas of idolising an older sibling to the point of wanting to be them, while still being sheltered and protected and guided by them almost to a point that it becomes unhealthy”. Band members Daniel Van Cortlandt (Vocals/Guitar), Troy Fannin (Lead Guitar/Vocals), Chika Obiora (Bass), David LeBlanc (Drums) and Matthew Watanabe (Keyboards) display their straight shooter beefy rock with ‘Like The Arrow Miss The Stone’. Its a “bull by the horns’ punchy energetic track. With thumping drums and raspy rugged vocals that give the track muscle and a meaty substance. The mighty driving riff pulses throughout the track keeping a flexible energy and power. While that forceful bounce beat is the strong arm giving the track sturdiness and support. The refreshing addition of keyboard softens the track a little and adds a sticky slap of psychedelia that takes St Van Cortlandt & the 101 to another level and makes their sound unique.
Stream ‘Like The Arrow Miss The Stone’ below

Worth A Listen

Our Worth A Listen This Week is Mini Mansions ‘Flashbacks’ 

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Los Angeles’ finest Mini Mansions have released a collection of unreleased/unheard B-Side tracks entitled ‘Flashbacks’. This follows their critically acclaimed second album ‘The Great Pretenders’ which was released in 2015. The trio , vocals and drummer Michael Shuman, vocals and keyboardist Tyler Parkford, bassist and multi instrumentalist Zachary Dawes have compiled a collection of nine ravishing tracks that smash all boundaries. We couldn’t choose just one track for our worth a listen but then, why would you choose one when their are nine spine tingling beauties.
‘Flashbacks’ kicks things off with ‘Drive’ a snappy quick step luscious track with Dawes’ fuzzed bass giving an ecstatic bounce. Parkford’s sweet delicate vocals introduces the nectarous melody with Shuman’s backing vocals adding a lush heavenly texture. The fluidity of this track makes it so easy on the ears and soothing with sugar coated sparkle. Building into heavier fuzzed rock instrumentation Mini Mansions introduce us to their gritty glam rock sprinkled with a smooth mouthwatering sweet 60s texture. With the sudden change to deep bass vocals by Shuman a warm mellow tone is added to the rich mix. ‘Drive’ knocks it out of the park and hooks you into the trio’s unique dreamy world of psychedelia and rock.‘Bored To Death’ coos and lulls into a gentle slow dance. With raspy vocals and tender lyrics teamed with elegant keys and dexterous chord progression creating a catchy soothing track that stops time, stilling everything around except for the beautiful melody. Lush harmony and gently sorrowful tones add purity and elegance. The track builds in intensity as a heartbroken tone takes over with heavy rhythm. The sweetened sting on guitar with soft piano and a light beat plays the track out with echoing gingerly soft repetitive vocals.
‘Ticket For One’ illuminates with a bright melody and multi-textures. The infectious slap whack beat combined with nimble keys and Dawes’ sharp elastic bass giving the track a rubber ball rebound effect. The call and response vocals between soft Parkford and deep Shuman as they interact with syrupy smooth melodies that will give you “stuck song syndrome”. Leading effortlessly and perfectly into ‘Ticket For Two’ a witty bouncy track with the catchy and almost “dollish” twinkle piano effect. Adding a catchy “clap clap” effect and steady striking bass ‘Ticket for two’ is a “tour de force” as it pulls similarities from ‘Ticket For One’ while developing a distinctive sound. Of course there is no great genius without a mixture of madness especially where Mini Mansions are concerned as they lead us into a frenzy of heavy manical moshing to end this fantastic track.
‘Fiona’ which we previously featured on Indie Buddie has a darkened dreamy tone and swoon-like atmosphere coated in hazy psychedelia. Once again Parkford and Shuman share vocals as they weave and intertwine melodies with warm seductive textures. The drums exude an oomph and panache to start and then seduce and coax when teamed with the smooth velvety vocals. They build into a sweep and bluster for the intense massive crescendo before the tone slows to a soft gentle echo finish.
‘Shape Recorder‘ has a spooky Halloween party track feeling to start with the peppy organ. The track maintains a sneaky eerie tone with psychedelic fuzz and heavy daunting instrumentation. Its a swirling confusion of blurry haunting fun and dangerous shady obscurity. The intensity of the track fades to a sweet soft vocal with lush harmonies before a final burst of instrumentation.
‘Valet’ is our taste of sensual reggae with Hendrix- esque guitar to start. This body grooving track is effortlessly cool and sleek and shows Mini Mansions in a new light. Its a sit back and bop to the music feel good tasteful track. Shuman’s warm deep vocals contrasting with Parkford’s candied falsetto towards the end adds a charming multi dimension. Exuding fiery strutting swagger with a captivating stride and flaunt this track is magnetic and tantalising.
‘Little Al Capone’ begins with a strong “digging” labour intensive beat and bass vocals adding grounding and depth. The track builds into a theatrical quick passed track with rapid beat and sprightly piano. Tight harmony on vocals and a vibrant dynamism and oomph instrumentation add passion and slappy elasticity. The track sounds like it could have been taken from a scene from a musical where the actors are hard at work, slogging through the daily grindstone.
‘Shadow’ completes our musical journey with the mysterious Mini Mansions in a sombre nostalgic tone. Its labyrinth of interweaving textures meandering through a delicate tender melody and heavenly sweet lavish vocals give this track opulent textures and diversity. The dreamy Utopian wistfulness and visionary fantasy set to swirling rapid beat and whine on guitars in a sway – like motion gives this track an abstracted feeling, like it was all a dream.
Mini Mansions are like a fine wine maturing and coming into their own. ‘Flashbacks’ could have been an album as each track opens your mind to their unique classy musicianship as they guide you into a journey of fantasy and rich textures unwinding your mind and unravelling your senses.

You can buy ‘Flashbacks’ and other Mini Mansions goodies here  http://www.pledgemusic.com/projects/mini-mansions/exclusives

Watch the video for Fiona below

Ghost Robots Album Review

Five piece Ghost Robots are an alternative rock band from Waterford. Band members Michael Doyle (Vocals), Dael O’Brien (Drums), Evan Hayes (Bass), David Hearne (Rhythm Guitar) and David Rudden (Lead Guitar) will be releasing their self titled album early next year and we had a little listen to it. As expected Ghost Robots sucker punch you into their unique sticky indie rock with flashes of epileptic psychedelia. This high intensity album is jam packed with catchy melodies and body pounding instrumentation that will have you completely immersed and engulfed in their darkened entrancing sound.
The album kicks things off with ‘Bad Habit’ this gritty riff ear worm is the perfect track to reel you in with pounding drums and dynamic soaring vocals. Strident blazes of guitar and blissful pop melodies make it a fiery anthem ablaze with motivational fist pump attitude and spirit. ‘Hollow Thoughts’ is a hungry razor sharp composition of nimble acute guitar and a snappy forceful beat. It is gravelly rough and ready frenzy, coated in swirling psychedelia and mind bending aggression. ‘Invader’ is an attack of euphoric rock. The edgy shrill of earsplitting guitars on top of hard pummelling drums give the sound of headbangingly good rock. Its a hyped intense track exuding aggressive swagger and a forceful characteristic. It is a “tour de force” with mesmerising electric power driven vocals. ‘Louder Louder’ , ‘Lights Out’ and ‘Richer Than Kings’ continue the five pieces’s unique, energetic whip lash rock with sizzling riffs and flexible rhythms all while maintaining a smooth refreshing cool tone. ‘Geronimo’ gives us a sensual almost strut- like punchy swagger. With fuzzed steamy guitar and sticky beat this track oozes stuffy attitude and gluey textures. ‘Razor Blades and Ashtrays’ is a rush of hair raising eerie tones and mystery. With an infectious piercing guitar riff and whisper vocals for the bridge its a spooky warning of dangerous occurrences with outburst of frustration. The album concludes with ‘I Am Not Contagious’ a swirling brew of spiralling psychedelia and chilling haunting vocals teamed with a heavy sturdy beat that remains the foundation and a solid to hold on to as the rest of the track swirls and intoxicatingly weaves around pulling you into its deep pit of trance-inducing danger. The coaxing velvety vocals bewitch and charm you into its spellbinding entrapment leaving you dizzy, confused and wanting to hear more.
An incredible album from Ghost Robots these guys have a bright future ahead looking forward to the release next year.
Ghost Robots will be playing at Whelan’s on OCT 15th make sure you check them out they are brilliant live.
While you are waiting for the album release watch the video for ‘Under Fire’ taken from Ghost Robots EP ‘Sell It To Me’ below

Lyerr ‘Not Going Out’

Manchester’s indie band Lyerr have released their new single ‘Not Going Out’. The band is comprised of members Ryan Johnson (Vocals/Guitar) Samuel Greene (Guitar) Rory Magner ( Bass) James Kershaw ( Drums). The four piece present us with an upheaval, ruckus soaked anthem to feast our ears on. Exuding rebellious attitude and swagger this track is a bellowing high energy punchy number with frenzy causing stamina. The pounding drums keep the powerful strength and intensity, while the pizzazz and zing of the guitar adds a sting and sharpness to the track. With a driving bounce on bass, it is a mighty “get up and go” high powered track. With an infectious and motivating “do something that people will talk about” lyric that will be dynamic at a live show when the crowd shout it back, these guys know what they are doing. Lyerr have created a high powered ball of fire that is an absolute frenzy causing seizure.
Stream ‘Not Going Out’ below

Palmas ‘Flowers’.

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Philadelphia’s surf/soul band Palmas have released their new single ‘Flowers’. Band members Eric Camarota ( guitarist) , Matthew Young (guitarist) , Adam Cantiello ( guitarist), Pat Degan (drummer) and Kurt Cain (vocalist) present us with their perfect blend of delicious sweet swirling melodies and experimental array of instrumentation. This Beatles – esque track bursts with luscious psychedelic features adding a euphoric dreamland vibe interweaving with blissful honeyed vocals and lush heavenly harmonies. Its a succulent beautifully delicate track that blossoms and flourishes as Palmas add a complex orchestral arrangement. The twirling trippy 60’s vibe consumes you in a gentle flurry of delightful intoxication as you are wrapped up in a colourful floral blanket of warm cosy tones and rich textures. With aptly placed percussion and the balmy mellow depth of the strings, it is an absolute joy and satisfactory listen. Palmas are budding into a fantastic band these guys deserve to do well.
Stream ‘Flowers’ below

 

Public Access T.V. ‘Never Enough’

New York City’s Public Access T.V. have released their smart, smooth and effortlessly cool debut album. ‘Never Enough’. The four piece swan in with their laid back sunny vibes exuding panache and present us with an album to get excited about. John Eatherly (lead vocals, guitar), Xan Aird (lead guitar, vocals), Max Peebles (bass, vocals) and Pete Star (drums, vocals) give us their brand of spine- tingling rock and roll that is a triumph from start to finish.

‘ Never Enough’ kicks things off with ‘In Our Blood’ a rapid snappy infectious track that hooks you in from the start. With smooth swagger filled vocals, brawny flexible drums and of course the incredible slick guitar. This track is infectious and tight. With attention paid to perfecting the small details you wont be able to stop yourself from dancing. ‘Evil Disco’ brings us Public Access T.V. ‘s groovy sensual sound. Its funky elastic rhythm and 70s vibe give a strut quality. The velvety deep almost sleazy vocals coax and lure for the verses. The ear worm melody and chord progression will ensure this song will stick in your head and leave you prancing down the street with this track as your soundtrack. Its so dangerously smooth  and polished if it was a floor you would slip on it and break your neck. ‘Summertime’ is a fuzzed hazy catchy track with an impulsive clap along effect. The steamy sharp guitar and flexible beat lures your hips into a swing while Eatherly’s vocals pine and almost whine with emotion. With lingering notes on vocals the track is soaked in longing and craving. The sticky intensity of the track changes up a little in the middle adding energy and vibrancy and light peppy backing vocals. The jazzy piano feature brightens the track and lightens the gluey mood to a freeing peppy tone. ‘I Don’t Wanna Live in California‘ is a revamped version of ‘ Metropolis’ which I must admit I found was somehow lacking to the original. I feel it didn’t need the revamp. they have given the track a spacey vibe with a disco feel and changed it around a bit. Thankfully they kept the shredding guitar solo and the hazy sunny vibe and added more spice and oomph to the laid back sound. The malleable beat and springy guitar give the track a bite. Eatherly presents us with a gritty, more fiery vocals and rebellious attitude. ‘End Of An Era’ is old school rock and roll reminiscent of Thin Lizzy. Its a swagger infused track that exudes fiery confidence. The zesty biting guitar adds an old school feel with a blazing riff that is red hot giving the track a razor sharp edge. With spirited energetic perky bass and animated beat it is infectious and dance provoking. ‘Patti Peru’ divulges in their grittier sound. The open line ” I was Ready to Die” gives an image of a desperate man on the edge. Eatherly’s shouty/growl vocals adds urgency and anguish to the track. The sharp guitars and pounding drums give the pop punk bouncy vibe. With sweet backing vocals to sing the track out and another display of proficient nimble guitar, six songs into the album and we are addicted craving more.
‘Careful’ is the mood changer in the album. It takes the roll of the slow ballad Public Access T.V. style. With a sway waltz- like sorrowful tone this track displays suffering and agony in three- four time. The misery and torment is displayed perfectly through the wail like vocals you can almost imagine Eatherly with tears running down his cheeks as he expels his agonising martyrdom to his listeners. Contrary to the shrill of vocals, the instrumentation is delicate and elegant. Fluidly flowing piano and a soft beat creates the perfect sweep of graceful delight. The strident ‘In Love and Alone’ is a short burst of boisterous energy. Its brawling rowdy swagger and interchanging between backing vocals and main vocals slaps you with original innovative rock and roll. The band’s knack for ridiculously catchy melodies keep this track constantly replaying in your head. Its a ruckus causing piece of melodic genius. The bridge is dynamic and frenzy evoking unruly joy. ‘Remember’ is a charming sun soaked easy going track with striking sweet guitar and bright tones. Rumbling drums and gritty vocals add texture to the smooth creamy track. ‘Sudden Emotion’ swirls with intensity and confusion as the verses are subdued and cheery, the chorus brings the explosion of instrumentation conveying conflicting emotions. The content lively vocals keeps a bouncy feel and bop to the track. The repetitive bridge with distant vocals and the soft drum beat slows the track down and gives a fantastic link to the final burst into the energetic chorus. ‘On Location’ is a summer high energy middle finger to the world anthem. Where Eatherly tells us to ” do what you want to do” The whole song seems to build both in energy and tone with blustering guitars and pounding drums while still maintaining a sunny Californian vibe up to its crescendo as the vocals progress to a growly shouty “I don’t wanna hear it” end. The album concludes with ‘Sell You on a Lie’ confirming Public Access T.V. ‘s organic undisputed cool stroll swagger and flair for catchy melodies that are sure to give you stuck song syndrome.
Public Access T.V. have big things ahead. They’re just getting started…
Stream ‘ Never Enough’ below

Miles Horn ‘Slow Motion’

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Miles Horn is a talented and multifaceted composer and singer from London. His musical expression covers a wide spectrum of styles from stripped back acoustic ballads to full on anthemic belters. Horn has released his debut EP ‘Slow Motion’ this month on which he has played lead guitar, piano and vocals on all of his recordings. The EP was predominantly self-recorded in various front rooms and bedrooms across London with the finishing touches and mixing carried out at Resident Studios. The final mastering was done at Abbey Road Studios by Frank Arkwright who has worked with Blur and The Smiths. ‘Slow Motion’ shows us Horn’s blend of soul-rock and blues, the five tracks venture through themes of lost love and the frustration of youth, all coloured by haunting vocal harmonies and heartfelt guitar riffs.
The opening track ‘Walking in The Park’ stirs us with the bluntness of lyrics like “I just want to be loved, is that such a crime?”, all wrapped in the warmth of Miles’ Grandfather’s Hammond Organ. Though the lyrics are melancholy and full of wistfulness the bright guitar glows and adds vibrancy to the track that gives it a chirpy feel. This contrast teamed with Horns smooth deep vocals adds a rich warm texture and acts as a comforting blanket soothing you from the emotional sombre lyrics. The title track ‘Slow Motion’ gives us a sway – like tender sound sprinkled with some sensual bluesy seasoning. With velvety vocals and the haunting ethereal echoes of the backing vocals to start, portraying a delicate moment. The track builds to a restrained yet unleashed sultry guitar solo. This track showcases Horns steamy bluesy style and fantastic guitar skills. ‘All Gone Quiet On The Western Front’ explores the vacuous pain of a lost love, this theme is portrayed perfectly and tenderly with vibrato on cello and sweet lull on backing vocals. The hard hitting instrumental with sharp shredding guitar and punchy steady drums adds dramatic emotion. The guitar seems to pine the loss as it wails and almost evokes the pain of the heartache. This track is Horn wearing his heart on his sleeve and presenting us with raw emotion. The fourth track, ‘Something Beautiful’, opens with Horn’s vocals accompanied by a beautiful Ben Howard-esque finger picking, very gentle and delicate with faint subtle and dainty backing vocals. We are lead into a catchy singalong chorus that exudes class and panache and radiates sunshine and a heavenly glow. Finally, the EP closes with ‘Lately’ a beautifully arranged piano led ballad gently brushed by the tasteful tone of bluesy licks. Horns vocals are emotion filled and passionate. The luscious melody is blissful and beautiful with tear jerking sombre tones. Its a simple track with warm tones and sweet piano that eases you to the end of the “Slow Motion’ journey.
Miles Horn will be performing at various London venues this Autumn. His next showcase will be at the iconic venue The Bedford in Balham (which has nurtured the likes of Paolo Nutini and Ed Sheeran) on Monday 7th November 2016.
Stream ‘Slow Motion’ below

Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.

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