Fí has released her new single ‘Call Me Out’. Fí is a Dublin based electro-pop artist hailing from Mullingar. She’s a self taught musician who started writing after buying her first guitar in college and has spent the last few years crafting songs from her bedroom. Her second single, ‘Feel Better’ was released to rapturous reviews and radio play and Fí has been honing her skills collaborating, writing and working with different producers in London,Dublin and LA. Fí was selected as a shortlist for ‘Play The Picnic’ by RTE2FM in June 2018. She has done many festivals and acoustic gigs playing Electric Picnic, Vantastival and supporting acts like The Academic and Aine Cahill.
‘Call Me Out’ is a tropical swirl of luscious pop as Fí fleshes out her vibrant and charming musicianship. Wispy electronics whirl around creating an ethereal magical atmosphere while the infectious beat and fruity tropical sounds create a summer sunshine number to brighten any day. Fí’s warm expressive vocals coat the track in cosy tones while the bitter/sweet melody creates that sublime catchy hook. It’s a confident powerful track doused in fun energetic tones and energising electronics.
About the track Fí says “It’s a straightforward confrontational song about calling out someone who tries to come back in your life. It’s all about female assertion and confidence. “
Glasgow based musician The Standing Man aka Louis Carr has released his new album ‘Those Stories Of Old’. This rich collection of tracks takes Carr’s electronic infused sound and splashes it upon some R&B influences, indie aspects and soul elements to create a unique experimental album.’Those Stories Of Old’, ‘Do You See What I See (God’s A Wookie Man)’ and ‘You Flew Too High’ weave darkly smothered hip hop and electronic tones into the album as Carr coos and sings over flashing soundscapes and smooth grooves while the velvety melody drifts effortlessly over the fluctuant backdrop. The more eerie aspects of the album come in the form of ‘Sign My Love Over To You’ with creepy reverb vocals as the melancholic melody sweetens the haunting electronics while ‘I Lost My Love’ ventures into a heavier almost dubstep soundscape. Sometimes the vocal melody and instrumental backdrop appear separate like in ‘Diamond Eyes#’. The melody separates from the track as if its lifted slightly while the weaving instrumentation flickers and slaps beneath. The album is heavily electronic. The refreshing guitar moments and keys in the tracks glimmer as an undercurrent in the songs occasionally peering through the electronics. The guest vocals on the album are a surprising and pleasant surprise. ‘Meet Me’ is a standout track featuring the wonderful French / Parisian singer Noé on vocals as she sweetly contrasts Carr’s deep whispers while ethnic tones spiral and wisp beneath the beautiful vocal contrast. It’s has commercial quality elements yet exudes Carr’s unique and dark tone. ‘Keep On Pushing On’ follows this trend with tropical tones and an easy listening backdrop, it’s a refreshing lift in the album. Kat Dahlia is guest vocals on ‘I Aint Gettin No Help’ and adds a bad-ass quality to the album while ‘I’ll Lead You Home’ has a surprising country element. With twanging guitar and jangly piano the track is another sudden shift in the album. The Standing Man packs a lot of different genres and styles into this album from murky electronics, R&B, indie to county sometimes I wondered if it fit however, the shift in styles come across refreshing.
‘Those Stories Of Old’ is a unique album filled with intricate electronic backdrops wonderful guest vocalists, superb production and thick dark atmospheres. Not going to be everyone’s cup of tea as this album entwines around gloomy murky soundscapes and obscure moments but its The Standing Man’s style and an interesting glimpse into a unique artists mind.
Indie pop artist Margot Polo has released his new single, ‘Let’s Get Out’. This is Margot Polo’s (the solo project of David Provenzano) first release of 2019, and is being released in advance of a 5 song EP set to be released this Autumn.
‘Let’s Get Out’ is a sun drenched laid back indie gem as Margot Polo dips the track in glorious jangly guitar and a hazy sweltering atmosphere. With dynamic electronics flurrying around a deep groovy bass line and buoyant beat this track is instantly likeable. Chilled with a refreshing backdrop this tutti frutti track has a zesty guitar line and peppy rhythmic bounce while the smooth melody and velvety vocals add a dash of sugary sweetness. The electronics flutter through the verses while the youthful adrenaline and vibrant instrumentation make this track one fresh guzzle of indie pop at its finest.
Sleater-Kinney are set to release their tenth album, ‘The Center Won’t Hold’ on 16th August. The iconic trio is comprised of Carrie Brownstein (guitar/vocals), Corin Tucker (guitar/vocals) and, now former drummer, Janet Weiss (drums). The album was produced by St. Vincent and is released through Mom + Pop. Tickets are on sale to the general public for the band’s extensive North American tour kicking off in Spokane, WA on the 9th October with a full run of European dates announced for next year including a show at Dublin’s Vicar Street on March 1st.
‘The Center Won’t Hold’ shows a sparkling deeply smoldering new facet to Sleater-Kinney’s sound as they swirl and layer sultry synths and slinky guitar lines into their indie aesthetic. It’s a lush album – rich in sound, vibrant in its construction and smoking hot all the way to its core. From the enticing build of title track ‘The Center Won’t Hold’ right through to the fleshy raw ‘Ruins’ and steamy dance infested ‘Hurry On Home’, Sleater-Kinney present their unique sound blending boisterous noise- rock mania with brooding thuds, experimental moments, electronic swirls and all out smothering indie. ‘Reach Out’ is one sublime indie track with mesmerising guitar moments and infectious emotive melodies while ‘Can I Go On’ swirls a quirky quality into the mix as Sleater-Kinney flesh out their infectious melodies coating them with a sweet candied tone and sun kissed vibe. This album is full to brim with pulsing synths and sensual wobbly guitar, psychedelic soundscapes and powerful vocals. The synths and electronics ooze and seep from the tracks like liquid nitrogen creating a smokey haunting atmosphere of euphoria and mystery while the catchy melty melodies tease and entice. There is a Fleetwood Mac hue lingering over ‘A Restless Life’ and the darkly coated ‘The Future Is Here’ as the guitar jingles and strides with a laid back tone allowing the warm honest vocals take the attention.
‘Love’ bounces with an 80’s slapped pop melody and infectious groove while the adrenaline rush on guitars are reinforced by the lush harmonies and vibrant atmosphere. The rock ‘n’ roll foot shuffling ‘Bad Dance’ drips swagger into the album with every slinky guitar line, panache-saturated vocal and drum thud. Sleater-Kinney display their emotional power ballad-esque style with ‘The Dog The Body’. With lamenting sting on guitar, anthemic chorus, punchy drums and compelling vocals its one for fist pumping the air to. ‘Broken’ brings a graceful close to the album. Elegant piano accompaniment and emotional vocals serenade distant guitar pines in the background creating the most moving and heartbreaking listening experience.
‘The Center Won’t Hold’ is a thrilling album that walks a fine line between sensual electronic and indie rock. Sleater-Kinney blend all these elements superbly to create a impressive body of work that you can dance, sing and rock out to. Its quirky, crazy and absolutely brilliant.
About the album Brownstein explains, “We’re always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person — ourselves or versions of ourselves…. — in the middle of the chaos.” Weiss adds, “I think for Carrie and Corin it was liberating to explore a different sound palette. Annie (St. Vincent) has a lot of experience building her own music with keyboards and synthesizers so she could be our guide to help us make sense of this new landscape and still sound like us.” Tucker says, “The Center Won’t Hold drops you into the world of catastrophe that touches on the election. And almost like a mission statement, at the end of that song, it’s like the band is finding its way out of that space by becoming a rock band.”
‘The Center Won’t Hold’ will be released on 16th August
Until then you can stream the title track ‘The Center Won’t Hold’ below :
Our Worth A Listen Track This Week Comes From John Eatherly
John Eatherly of Public Access T.V. has returned with his second solo single ‘Burnout’. The track follows on from last month’s ‘All My Love’, and arrives with a video which was directed by Jonah Freudand Johann Rashid and stars Kaia Gerber and Oli Green. Always a master of melodies Eatherly presents us with yet another melodious treat with ‘Burnout’. This sweet melt into your ears melody floats delicately with innocence and charm over an electronic soundscape of brooding verses and crashing chorus. The track twinkles softly through the verses with glistening honeyed keys and a soft beat while Eatherly’s supple falsetto coos into the dreamy atmosphere. The track builds for the chorus as fiery guitars enter, creating a raw texture and spine-tingling explosion. Eatherly showcases his refined musicianship as he layers and builds this track superbly. Teasing electronic verses glimmer with hues of 80’s synth pop, which blend with undertones of alternative, indie rock throughout the carefree blasting chorus. The sweet moments in the track are just divine while the heavier elements are cleverly placed and hair raising. As a solo artist we get a glimpse into a life without the infectious riffs, 70’s sheen and sun sprinkling of the band aesthetic and its impressive, chilled and pretty cool.
Middle Youth is the project of Harper James. He has released his Lo Fi solo EP ‘Heaven Is a Feeling’. Harper James is a producer, mixer and writer working out of Degraw Sound in Brooklyn, NY. He and his brother Abner James front the band Eighty Ninety. Harper’s productions, mixes and songs have over 20 million streams on Spotify and have been featured on numerous Spotify playlists including New Music Friday, Pop Rising, Fresh Finds to name a few.
‘Heaven Is a Feeling’ EP is a luscious can of indie pop laced in sweet electronics, delicious melodies and Harper James’ emotive songwriting. James achieves an easy listening experience with some effervescent bits throughout with his diverse and rich musicianship. Opening track ‘Black Square’ is a delicate ditty that floats around brooding guitar accompaniment and whispered vocals. It’s a twinkling intro that begins the EP in a low key ethereal tone and an air of mystery. The hushed beginning swiftly changes as the electronic soaked 80’s synth pop number ‘Heaven Is a Feeling’ kicks in. With glistening electronics, foot tapping beat and candied 80’s sheen it’s instantly likable and fresh. With striking honest lyrics and a dazzling soundscape James uses the sparkling pop backdrop and darker lyrics to create a sublime contrast and give depth to this tune. It’s buoyant and vibrant with intricate weaving soundscapes and glittering guitar while the smooth vocals coo over the melty melody. This EP presents us with sublime melodies from the peppy title track to the more melancholic ‘ Open Your Eyes’ and ‘Sublight’ . With gritty guitar moments and a thudding beat in the former and stripped back acoustic accompaniment for ‘Sublight’ James sets a sombre lamenting tone. ‘Wanna Be True’ is the tender ballad-esque tune that warms the cockles of your heart with its sweet lyrics and warm guitar accompaniment. ‘My Phone’ brings the EP to a close with a biting ethereal atmosphere sticky beat and lonely lyrical content.
Throughout the EP Harper James showcases his ability to create sublime stripped back tracks, lo -fi tunes drizzled in wispy soundscapes as well as a full throttle electronic number. With modern themes of technology, loneliness and love it is a relatable and chilled EP.
About the EP Harper James said : “These are songs about growing up, trying to be true to the people you love, becoming disenchanted with some things you used to believe in, and seeing the magic in other things; feeling old, hating my phone, getting it wrong, getting it right, becoming acquainted with mortality and experiencing love in many forms. The project is called @middle.youth — I realize my friends and artists I’ve worked with have maybe heard my music in other contexts but never as a platform for me to say my thing.”
Dublin Ambient-Electro two piece Manyana have released their new single ‘Voyager’. The track is part of the bands upcoming debut album. Their previous releases ‘1ofmy’ and the two part epic ‘There’s Glasses Need Collecting the Wide World Over’ have both been very well received, with ‘1ofmy’ having over 10,000 plays on Spotify, as well as being played on local and national radio.
‘Voyager’ is a pristine ethereal number that drifts delicately upon the crisp and emotive creative prowess that is Manyana. Sweet elegant keys twinkle between wispy aerial electronics and deep tones while the beat-flashes and beat-pulses create a fluctuant foundation. The melancholic melody is caressed by warm soothing vocals while the glistening soundscapes wrap your ears in feathery light elegance and blissful textures. With darker elements running through the track as it becomes more chilling yet calming Manyana create a sedating track that is utterly mesmerising. The electronics wisp and entwine the melody with a silky sand-like texture that you try to hold but keeps slipping through your fingers. There is depth and substance to this sublime track you can almost feel every flicker, movement and pulse as if it was tangible. An enjoyable listen.
LA-based electronic music producer RIDDNCE has released his new single ‘STRANGE BARRIER’. His previous tracks have been hard-hitting and this latest release is just as effective.
‘STRANGE BARRIER’ is a flashing electronic number that glitches and splutters between dubstep- esque tones and swirling soundscapes to create a dazzling skittish experience. With a piano feature cooling the sticky frenzy and a quirky elevator music beak this track isn’t for everyone but RIDDNCE pushes boundaries to create something truly unique. Playing with tempos and a range of smooth, calming and utterly mind frazzling electronics RIDDNCE creates a unique, fun and intriguing listening experience in this tight and multi weaved track.
Dublin based innovative pop artist Jack Rua and producer LOGUOS have released their new collaboration ‘Ego’. Written and produced by Jack Rua & LOGUOS, ‘Ego’ combines the performative talents of Jack Rua with the slick electronic production of LOGUOS to create an incredibly infectious summer dance floor filler. With its catchy melody swirling electronics and snappy rhythm this dazzling glitter ball is radio ready and brimming with adrenaline. The smooth and dynamic vocals glide effortlessly upon the velvety melody as the crisp and glossy production adds a pearly luster and silky sheen to the track. With a jazzy piano feature and flashing soundscapes laced in richly layered electronics and refined musicianship ‘Ego’ is one dance infused banger.
Hailing from Vicenza, Italy, Electronic artist Matthew S has just released his latest single ‘Waves on the Moon’, his first release since his debut album last year.
‘Waves on the Moon’ is a twinkling electronic number that drifts and elegantly floats upon soft soundscapes and magical tones. A soft graceful key progression wanders and glides with a sweet light melody over the rippling electronics creating a wonderful sense of innocence and purity. The fluttering bloop and bleep add a futuristic feel to the track however that magnificent and majestic piano brings the track to a dreamy state of bliss that is moving and utterly relaxing. ‘Waves on the Moon’ is an elegant and enchanting track as Matthew S transports the listener into an ethereal daydream of euphoria.
Stream ‘Waves on the Moon’ below
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
