Chris Wise and The Hidden Revolution are set to release their new single ‘Don’t Belong’. Recorded at Paul Weller’s prestigious invite-only Black Barn Studios in Sussex, with support from Ireland’s MCD Productions, this infectious toe-tapper kicks off what promises to be an epic year for the band. Naturally progressing from the band’s last two DIY-styled video releases, “Don’t Belong” is released alongside a charm-filled stop-motion animated video by Gold Brick Studios, bringing this rare and unique art form back into the fold of popular music. An exciting 2021 is planned for Chris Wise and The Hidden Revolution, with more releases and post-pandemic live shows to come.
‘Don’t Belong’ is a colorful upbeat bop saturated in Chris Wise and The Hidden Revolution’s melodically lush musicianship. Introduced by a rhythmic bounce and infectious guitar refrain, the track shuffles in on a bright wave of jittery guitar pop. The band layer the track superbly with elegant jangly keys, vibrant percussion, and intricately weaved basslines to create an instant earworm gem. The clean, sleek production and emotive songwriting make ‘Don’t Belong’ a stunning and radiant delight. With lush harmonies creating a joyous sing-along element while the uplifting soundscape builds to create a wonderful sense of ecstasy, ‘Don’t Belong’ is an absolute joy to the ears.
Sarah Deegan of Pixie Cut Rhythm Orchestra performs an acoustic set for Our Indie Buddie Sessions.
Pixie Cut Rhythm Orchestra are a Dublin-based three-piece consisting of singer/guitarist Sarah Deegan, bassist Alice Grollero and drummer Danni Nolan, who came together about three years ago after meeting through gigging around the Dublin underground music circuit.
This talented three-piece have a poignant and passionate sound oozing brooding melodies and biting instrumentation. Sarah Deegan showcases the band’s magnificent indie rock sound and deft lyrics through this mesmerising and thoroughly enjoyable session.
East London Desert Rockers, The Howlers, are back with their new single, ‘I Don’t Love You All The Time.’The 3-piece consisting of Adam Young (vocals, guitar), Cameron Black (drums), and Guus ter Braak (bass) have undertaken three UK-wide tours since their formation over a year ago. The band quickly established themselves as one of the UK’s must-see live acts, gaining much deserved praise from radio royalty, including BBC 6 Music, KEXP, and BBC Radio 1 and major programming on BT Sport, SkySports, and SoccerAm.
‘I Don’t Love You All The Time’ surges with blazing desert rock swagger as The Howlers balance psychedelic rock with sleek 60’s pop sensibilities to create one heck of an anthemic belter. The band add rich layers to their sound by dripping spaghetti western-esque guitar lines over elastic bass grooves to create a hip-swaying wall of sound. They swiftly break this soundscape with a series of blitzing guitar riffs to announce the crashing chorus which is consumed in a fury of blazing instrumentation as lacerations on guitar splinters through the pummeling muggy rhythmic backdrop to create a thrilling fuzz-filled backdrop.
The Howlers have an impressive ability to drift from a dreamy sound to a sonic-filled frenzied display with ease. You can almost feel the sweltering desert heat emanating off the raw instrumental blasts as Adam Young’s vocals glide from a smooth croon to resounding rumbles.
The tight instrumental assault and clean production presented in ‘I Don’t Love You All The Time’ is exhilarating. The Howlers knock it out of the park with a single that is woozy with psychedelic touches and disorientating with intense grooves . A must listen.
Speaking about the track, Adam says,“‘I Don’t Love You All The Time’ is an ode to the trials and tribulations of love and loss in modern times, an observation about understanding how to come to terms with falling out of love whilst at the same time longing to be loved in kind.”
Watch the video for ‘I Don’t Love You All The Time’ below.
Belfast-born Liverpool-based songwriter Thom Southern has released his new single ‘Soul Singer,’ which was produced in collaboration with Peter Kember, a.k.a Sonic Boom.
‘Soul Singer’ is a luscious burst of fuzz-pop from Thom Southern. With the aid of Peter Kember, Southern creates a refreshing and vibrant new track laced in rich melodies and refined musicianship. He takes a delicate 60’s-esque pop melody and merges it into a vibrant psychedelic backdrop of bubbling electronics and rich rhythms to create a song full of life and energy. Skillfully produced the song’s sonic wall expands with intricate guitar embellishments and sweet key refrains while the drum grooves and pulsing bass lines, flutter throughout.
Southern’s velvety vocals croon and whisper over the melody creating a dreamy haze throughout. The verses fizz and simmer under his warm coos before the vibrant chorus erupts with clapping rhythms, lush melodies, and uplifting tones as Southern sings, “where ever you go I’ll go there too.”
Thom Southern is crafting his sound meticulously, creating heartfelt vibrant tunes that get better with each new release and ‘Soul Singer’ follows this trend spectacularly.
Slyrydes are set to release their new single ‘Boy In The Debs Suit’ on March 8th. Slyrydes are a four piece band from Galway. The band released their first five singles from March 2019 to March 2020 (Mental Health, Point of view, Out Patience, Dangerous Animals & I claim to be intelligent). The singles collected much critical acclaim nationwide and in the UK. In 2020 against many odds Slyrydes managed to record their Debut album which will be available on 12″ and is set for release this year.
‘Boy In The Debs Suit’ is a raw and coarse new single from Slyrydes. The band create a dark and exhilarating sound smothered in refined instrumentation.
Slyrydes have become known for tackling the emotional themes of mental health through their songs and ‘Boy In The Debs Suit’ follows this trend. By surrounding this hard-hitting rock track in earnest and sinister tones, they drive home the harsh reality of life and mental health through masterfully expressive instrumentation.
With a majestic and nimble guitar display embellishing the track in finesse and swagger Slyrydes create a piercing and light contrast to their brawny sound. A rampant bass and fluctuant rhythmic foundation exudes an ominous undertone while deep expressive vocals roar about the harrowing realisation when you see the picture of a missing person you know “I am in shock cos I saw him last week… We were in the same place”. The verses build tension as the coiling bass wanders through the song’s underbelly evoking a sense of mystery that builds into the dynamic and frenzied crescendo.
‘Boy In The Debs Suit’ is a brilliant display of musicianship from Slyrydes. Their compelling sound is blossoming into something to truly admire. Looking forward to hearing more from this talented four piece. ‘Boy In The Debs Suit’ is set for release on 8th of March.
Back with their very first single of 2021 ‘A Poet’s World’, Manchester-based indie-punk band Urban Theory are set to take new heights in the year ahead. Forming in 2016, this four piece guitar band has set about becoming a firm favourite on the Manchester indie-punk scene. In their short reign they have already sold out a number of notable North West venues, supported a host of big names and gained numerous plays on BBC Introducing and XS Manchester.
Gritty and seeping with energy, ‘A Poet’s World’ displays the catchy punk rock of Urban Theory. The band introduce the track with a raw guitar riff that slices through a punchy drum and resounding bass foundation. Urban Theory layer and craft the track meticulously to create maximum impact through teased instrumental explosions throughout the song.
The verses simmer in dark soundscapes as the band use the gnawing backdrop to create a tense and jogging pace before the powerful chorus erupts into an instrumental frenzy. Melding punk aggression with infectious indie and edgy rock, the band present a sound that is both intoxicating and rousing. ‘A Poets World’ is a wonderfully fierce, well-crafted indie punk track ready for the mania of live shows.
Laura Elizabeth Hughes has released her highly anticipated EP ‘We, Myself, I’. Hughes hones in on her poetic songwriting to create an EP that is simply divine and a triumph for Irish music. The previously featured on Indie Buddie ‘Days’ kick starts the EP. Warm guitar meanders through delicate poetic lyrics and beautiful melodies as Hughes discusses the nothingness and mundane moments when she was out of work. Emotion is expressed through bright glimmers on guitar and lush backing vocals that seem to coo and rotate through the track as if on a wheel of bittersweet monotony. The track is an absolute gem.
However, ‘Days’ is not the only stand out track on the EP. Evoking a sense of vulnerability throughout, ‘Two’, is hair-raising, captivating and utterly heartbreaking. A piano twinkles innocently within a bare and spacious soundscape while chilling loneliness is expressed through the lyrics as Hughes asks, “tell me how you keep it all together now”. This solitary number is stunningly expressive without being overpowering and showcases Hughes’ powerful songwriting ability.
Hughes’ knack with enchanting melodies shines wonderfully bright throughout this EP. Her melodic prowess is best displayed in the bewitching title track ‘We, Myself, I’. A dark guitar tone resounds between delicate plucked melodies as Hughes creates an atmosphere riddled and torn with conflicting emotions. Hughes ruminates “Saving all my hours for you, cramming them in boxes till they all turn black and blue”. Her timeless songwriting and deft lyrical delivery is deeply moving and powerfully emotive while embellished with an artistic flair and finesse well beyond her years “cheap wine chased by time cos I’ve got nothing else to loose”. She provides a perspective everyone has felt this past year, crystallised in mature earnest lyrics and cosy breathtaking arrangements.
Hughes’ music has always been rich in substance and deeply thought-provoking. However within ‘We, Myself, I’ EP Laura Elizabeth Hughes has shown strong musical growth – her sound exudes a cinematic undertone as she weaves evocative silence between ribbons of rapturous melody and warm delicate instrumentation. ‘We, Myself, I’ is a delight to listen to and a glorious display of musicianship from Laura Elizabeth Hughes.
Speaking about the EP Hughes explains; “We, Myself, I” was a little challenge I set myself. To try and navigate the thought paths that solitude was thrusting me down and make something of them. I wanted to try and replicate the advice I was being given in trying to get through a multitude of feelings and anxieties, I was told to keep it simple. To keep life simple. To not get hung up on details and bells and whistles and just focus on breathing through another day. The tracks are trying to navigate feelings of grief, of unjust theft of time and potential, of curiosity as to how other people were seemingly rowing through the sh!t that was 2020 with much more ease than I was. They’re rough around the edges, much like my mind, but they’re soft like I have tried to keep my heart. They’re cut from the same cloth, just like every day seemed to be, but each is coloured differently like I have tried to be mindful of and noticing.”
22-year old Dublin singer/songwriter Peter Richardson has released his new single, ‘Please Don’t Believe Me.’ This emotive heartwarming track boasts Richardson’s beautiful songwriting and gripping musicianship. The track oozes passion, compelling melodies, and cinematic appeal. Richardson’s majestic arrangement creates tension and exudes melancholic soothing tones all at once while hair-raising backing vocal coos create an arena-worthy sing-along refrain – it is a wonderful feast for the senses.
Richardson croons the tender, honest lyrics, “you see, I can’t love at all if only you saw that I’m bruised”, over a sombre melody and building vocal harmony. As the song progresses, Richardson introduces warm guitar, dynamic rumbles on drums, and elegant laments on piano to bring the track to its hair-raising crescendo.
Brimming with tight instrumentation and clean production, ‘Please Don’t Believe Me’ is a refined display of contemporary pop marking Peter Richardson an artist to keep an eye on.
Irish, Cork-based progressive art rock artist Shane O Leary, also known as Harlow Lake has released his new single ‘Bell and Jewel’. No stranger to the stage, O Leary has toured extensively throughout Ireland over the last 15 years, as well as the UK and Sicily, with prog-rock outfits, Jezery and Lamp. Supporting such acts as Three Trapped Tigers, Adebisi Shank, Diane And The Shell and Ten Past Seven.
‘Bell and Jewel’ is an intricately weaved psychedelic-hued progressive rock track that displays the refined and deft musicianship of Harlow Lake. The track takes you down a meandering traditional folk rabbit hole of obscurity as mystical guitars merge into a backdrop of rhythmic pulses and slaps that unfold into a sinister melodic soundscape. O Leary builds and crafts the track meticulously adding textured beats and infectious bass grooves to lure you further into his enthralling sound. Blending bright guitars and pop sensibilities into darker tones, the song ventures into psychedelic territory with Celtic folk embellishments before bursting with alternative pop/R&B flirtations.
Utilising rich and varied sounds from percussive shakes to chimes and drum machines ‘Bell and Jewel’ is a vibrant new single from Harlow Lake.
About the track O Leary said, “I wrote this during a time I was doing a lot of intensive meditation practices, and having very intense weird experiences throughout my normal day as a result of it. The chorus part’s a funny one, because I originally wrote it about someone I felt was such a prick, yet cunning, that they’d be the type to get away with murder. And even though I didn’t end up writing the rest of the song about this person I decided to keep this section in, cause I felt what I saw in them must also be in me too. If you spot it you got it kind of thing. The shadow side of myself. So in a nutshell the song’s about learning to be aware of the all the different parts of myself. The good, the bad and the ugly.”
Dublin-based electronic band, Pecking Party have released their latest single ‘Descendant’. The track is accompanied by a stylised sci-fi-influenced video directed by Richard Harvey (winner of First Cut Youth Film Festival Music Video competition).
Luring, dark and superbly composed ‘Descendant’ displays the raw electronic rock of Pecking Party in all its glory. This sinister concoction blends swirling electronics with heavy, gritty rock and acute trip-hop to create an enthralling listening experience. The sheer terror and assault provided on bass and drums is masterful as the band create a harrowing coarse wall of sound for the shadowy, almost futuristic toned electronics to ricochet and swirl around.
The band balance their harrowing heavy sound with ethereal elements allowing glimmers of lightness and innocence to flicker within the muggy atmosphere. As harsh guitars gnaw through the track’s intoxicating soundscape, the delicate melody and soft vocals provide a refreshing contrast.
Ciara Ryan’s smoky lulling tone carries the track’s lighter moments – with sweet haunting coos on backing vocals she discusses themes of intergenerational dread and fear for the future. Ciara Ryan ventures into a menacing tone as growling backing vocals howl before the striking perilous chorus.
Pecking Party have crafted their sound masterfully creating an enticing and frenzied sound sure to ignite the senses and leave you craving for more.
Watch The Video For ‘Descendant’ below
Author : Danu
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
