As followers of this blog may know, Owl By Night has a strong affinity for new music from Sweden, the country never ceases in delivering a unique brand of infectious electro-pop. With all that in mind, it can be easy to forget the sheer diversity and quality of music nearby: Iceland's Sykur, Denmark's Alphabeat and The Netherlands' Anouk. Snuggling up to the Swedish border is Norway, a country not exactly renowned for assorted electro-house excellence but that perception has been gradually changing over the last two years thanks to the duo of Lemaitre. Ulrik and Ketil have carved a reputable fanbase since they first emerged on the scene with over 22,000 followers on Facebook already, three successful EP's and significant support from online blogs, the Norwegians are making all the right moves. Lemaitre are currently acting like a catalyst, stimulating a new renaissance of vivacious, funky electro-house and filling dance floors with throngs of party-goers. The formula works and it only seems to progressively get better.
We at Owl By Night will admit we have been slow to jump on the Lemaitre bandwagon; their third EP "Relativity 2" was released back in May. Either way the track "Keep Close" has been on repeat over the last two months with good reason. The opening quarter paints a rather serene picture where oceanic synth echoes drift hazily between an accomplished beat. Crackles of electronic bleeps weld the naturalistic waves of chill-out noise against the more frenetic digital inputs and this intricate start throws up comparisons to Keep Shelly In Athens, Sigur Rós, Mmoths and DIANA. Rejuvenating electro that laps at the senses with a degree of calm. From the fifty-forth second that gentle image is overwhelmed by futuristic electro-funk schizophrenia. There is no doubting the Daft Punk similarities, in fact, Lemaitre must be sick of them by now but that is not such a bad thing. Daft Punk are the masters of contemporary electro-funk-pop, catapulting the hybrid genre into the commercial arena. Aside from the French duo there are hints of MGMT, Röyksopp, Pony Pony Run Run and Grum. The rambunctious onslaught ignites explosive synth barrages whilst gleaming keys grind over wrought-iron crunches of scatter-gun noise. This gives the chorus a powerful punch, flooding eardrums with maniacal whomps, bleats, twinkles and every sound imaginable. Adding Hot Chip style vocals ruffles the musical background and torpedoes forth segmented bouts of electro synaesthesia: ears, limbs and emotions erupt with fervent glee making "Keep Close" an energetic track. Lemaitre smoulder their electro landscapes with neon strobes, boring into the musical soul almost psychedelically delivering a plethora of intoxicating sound. Ulrik and Ketil manage to execute their niche sound with absolute ease and each track encourages the listener to get up and dance like there is no tomorrow.
Check out the video below, follow the links, buy the album via the iTunes, you know the score by now.
BASSDRUMSNAREDRUM FT BETTY STEELES - "ALL WE NEED"
Jake Ridley is an up-and-coming writer and producer based between Winchester and London who goes by the moniker of bassDrumsnareDrum. The name is all rather long and appears complicated at first but when you listen to bassDrumsnareDrum the music draws you in and stirs interest, remembering the name will naturally follow. The entrepreneurial musician has a superb work ethic having already studied music at Southampton University, worked for a major record label and remixed for pop siren Christina Aguilera. The only way is up for this producer. There is no questioning Ridley's indefatigable work attitude; professional and forward-thinking, his next step is fostering new vocal talent and implicating new artists into his current work. Something that is very bold, conscientious and above all, intelligent. His four track debut EP "Pause Rewind" was released in early August and received praise for delivering songs full of euphoric tones and tranquil beats.
Upon listening to bassDrumsnareDrum, we can safely say at Owl By Night that we have never reviewed someone with such a pristine, uncluttered and stripped-back sound. There is a compelling compositional resemblance to James Blake, Mmoths, The XX, Sigur Rós and Alpines, yet this latest release from Ridley is similar to Breton's "The Commission" in it's clarity and minimalistic craftsmanship. What strikes you initially when "All We Need" begins is the delicate pitch of Betty Steeles' vocals in the introduction. Ridley has used a fresh, untarnished Londoner with a malleable vocal range to suite contemporary electronic music as well as acoustic numbers and quirky sound arrangements. Steele's sound is a vibrant mixture of Corinne Bailey Rae, Aluna Francis and Anna Berglund of Sweden's Years Away, which in turn produces a warm soulful atmosphere free of external interference. The first full minute of "All We Need" brilliantly subverts both the vocal and lyrical conventions, lulling people to believe that this must be is just another daydream tune harking on about the difficulties of love. Wrong.
BassDrumsnareDrum coax forth a foreboding mechanical beat that transforms the song's previous guise into something more urban, more shadowy and imposing. Straying into chilled electronica meets inebriated dubstep territory is a dynamic move that converges variant sounds into a sublime cascade of mellow beats and orbital key strokes, which then saunters into a formidable chorus. Steeles' icy purrs foster a mysterious 'unknown', a quantity that appears inexplicable, almost haunting and this trait fuels the song right till the last audible sound is heard. With "All We Need" Ridley showcases his meticulous production ethos. His mesmerising landscapes of contemporary sound and clinical backdrops are virtually pioneering in the chill-out electro genre and neatly demonstrates the skill required in crafting songs of quality and seamless production. Collect a guilt-free download of "All We Need" via Soundcloud then check out the awesome music video and external links below.
Several months ago I was spontaneously approached within my own workplace by someone who worked in the music industry for a digital music distributor and record label named Believe Digital. Based in Brighton, East Sussex, the people working for Believe Digital have the same passion as me in finding new musical talents; fantastically gifted people who excel in a given genre and make us, the listener, inspired and left wanting more.
Believe Digital is in fact the leading digital distributor and services provider for independent artists and labels in Europe, some title and a half. What Owl By Night loves is how this company bridges the gap and allows artists an "ease-up" onto the music career ladder without engulfing said artist and changing them in the process. The approach is very simplistic but works so effectively and nurtures talent in a way few people "in the position of power" do anymore. One of the motto's on the front of their website surmises the Believe Digital ethos entirely, "Honesty, transparency, efficiency and a dedicated music professional at your doorstep to develop your digital music career together", it just sounds so lovely doesn't it.
Having exchanged emails and stipulated what the intended voluntary role involves and communicating with the right people Owl By Night is very excited to announce that we will be working with Believe Digital in the future. The Brighton company will filter fresh new artists that fit this blog's musical preferences and Owl By Night will gladly write about them and spread the word in return. This is perfect as we get to find raw new talent and we can then distribute the posts to our followers, spreading the word and hopefully helping new artists to achieve their dreams. It really is that simple.
So, a big thank you to Believe Digital and Lee, Gideon and Florie. Let the blogging commence!
When you see on paper that a producer has done remixes for Lana Del Rey, Adele, Ellie Goulding, Digitalism, Metronomy and Is Tropical, then you know the person behind the dynamic remastering is fantastic. Moonlight Matters is the fictitious pseudonym used by the Belgian music legend Sebastiaan Vandevoorde who has also worked under the moniker of Villa to which some of you may be more familiar with. "Come For Me" is a metallic extravaganza of grinding synths that harks back to glorious eighties experimentalism; discordant noises punctuate rhythmic arteries and expel neon fluid beats and staccato jabs of techno thuds. Ingeniously utilising the disco savvy of Gustaph from Hercules And Love Affair generates an instant pop classic where softer vocoded strobes lather harsh digital portraits. By etching out hooky choruses and encouraging the package to feel skittish Moonlight Matters has produced a track as excitable as a light-up dance floor 'Saturday Night Fever' style.
NOOSA - "WALK ON BY"
Way back in March a vast majority of bloggers and music 'tastemakers' shared a mutual excitement over Noosa, the New York based duo of Sky Barbarick and Matt Buszko. Their first single "Fear Of Love" set an early benchmark of technical prowess and musical ingenuity which was further confirmed by the twosome's brilliant eponymous EP. "Walk On By" follows those finely detailed footsteps and showcases a new facet of pop; sophisticated, regal and in places beautifully hazy. People are labelling Noosa's sound as "dreamy pop", which upon first listening or at a casual glance is succinctly correct, but delve deeper and you find a duo rich in talent, integrity and bestowed with sublime production finesse. The music, the complimentary sound elements of instrumentals and vocals literally do the talking; "Walk On By" commences with a somewhat morose Steinway Grand Piano that impregnates the song with sweeping emotive grandeur and tentative sound progression allowing Barbarick's glassy vocals to interact and drive the song. Noosa explore different tempo foundations to nudge the track along into a lazy oscillation of warming beats, ashen keys and transparent vocal harmony generating a feel-good array of melodies and emotions. This is gentle pop at it's purest and absolute best.
BRAVESTATION - "SIGNS OF THE CIVILIZED" (POLARSETS REMIX)
The humble quartet of Bravestation who hail from Toronto, Canada are most notable for delivering finely sculpted models of euphoric relax-pop. Their strident compositions often filter distorted tribal hollows across warm percussion savannah's, distinguishing their sound further by allowing plucky synth musings to skip around ushered beats in a way specific to the Bravestation ensemble. "Signs Of The Civilised" conforms perfectly to the aforementioned, however, the remix by Polarsets excellently collides the gentler melodies of Bravestation with the maniacal and eclectic tribal nuances of this three-piece from Newcastle. This re-work bubbles effervescently thanks to a playful tempo that feels indecisive and frenetic. Adding further tropical indie floatation via cascading synth showers and galactic beats paints a mythic backdrop, almost seraphical in places and transcending genre boundaries. This perfectly allows the original mellow construction to evolve into something magmatic and full of energy as choruses blend and intertwining musical elements dance with spirit.
FUTURECOP! FT KEENHOUSE - "THE ONLY WAY" (GRVRBBRS REMIX)
Futurecop! is the culmination of one Mancunian and one Londoner who, to quote off their Facebook page create 'Dreamwave', "Melodies to escape the depression's of self discovery". The duo have garnered a creative streak of pulsating nu-disco funky dance-pop that filters the same electrifying sounds more commonly associated with artists from Australia or France. Think along the lines of Bag Raiders, Madeon and Grum, if you wish to bandy the duo amongst the genre's bubbly in-house peers. Their sound is a techni-colour amalgam of frittered synth squeezes and bouncing beats delivering simplistic pop full of charisma. GRVRBBRS are the macabrely addressed Brooklyn duo who juxtapose their dark name with all things bright and enticing. Their penchant for sparkly, uplifting and enthusiastic remixes is easily identifiable when you listen to the reworking of "The Only Way". Cranking up the electro fervency and injecting boisterous energy via neon beats, thunderous synth squeals and sugary bass lines is the true GRVRBBR way. Their remixes add that juvenile edge; some fun and leniency which pushes a song along to great effect. The Brooklyn duo leave the Futurecop! DNA intact but alter the codes, the electro-pop composition, mutating it into a frivolous disco thoroughfare.
DIANA - "BORN AGAIN"
Carmen, Kieran and Joseph are the new Toronto collective DIANA who have formed only recently yet already have a debut EP ready and waiting in the wings for ears to sample. Each member has come from a differing music background allowing for a vast miscellany of individual sounds and musical directions to streamline into one uniform expression of noise. "Born Again" starts off in a rather galactic fashion; a series of astrological whirs create an overwhelming depth within the introductory set-up encouraging new instrumental layers to diverge and progress. Like an inescapable vacuum, variant sounds pour into the choral build-up and swirl around with celestial ease and intricate detailing. Hollowed synths meander between airy African chants that tumble innocently and with delicate frivolity; such music conveys powerful euphoric emotions and is further enhanced by Carmen's crystalline vocal waves which unrelentingly tempt a listener's curious ears. Flitting around in the distance DIANA use a series of electro studded chirps, similar to those incorporated by the brilliant young organist Tristan Mitchard, to mould yet another dimension to the "Born Again" package, something fantastical and aspiring. The technical execution of this single highlights the professional attitude of DIANA and the sheer talent they possess, paving the way for future releases.
Sometimes it is highly refreshing and welcomed when a band form under very specific, if almost unimaginable circumstances. Take Churches for instance, a new three-piece formed of Iain Cook formerly of Aerogramme, Martin Doherty of The Twilight Sad and Lauren Mayberry who lent her vocals to Blue Sky Archives. Their variant sounds of anthemic slow-rock, pumping indie and ambient chillwave have effectively become the building blocks for Churches; musical DNA that has evolved and subsumed into something very edgy, almost razor sharp in fact. What makes these newcomers altogether more interesting is that they come from Glasgow, Scotland, a city not exactly noted for producing electro-pop extraordinaires. It is these little facets of differentiation that hypnotise and entrance people to enter into Churches' world of music and intrigue. Keenly praised and plaudits aplenty Churches are intelligently working under the Neon Gold label, famous for nurturing stars like Ellie Goulding, Passion Pit, Marina And The Diamonds and Icona Pop. The Glaswegian band produce an unmistakable sound, highly distinguishable and prominent. Coined as 'Neon Gold Pop' by fellow Brightonian blog The Recommender, it is immediately clear these guys can make mammoth electro-savvy pop stormers.
"Lies" Instantly starts off with a stampeding militia-esque drum beat that is somewhat imposing and threatening; Paul Lester of The Guardian mentions that this calamitous shower of beats is reminiscent to Dizzee Rascal's "Fix Up Look Sharp", while Owl By Night wholeheartedly agrees with this sentiment, we cannot help but be reminded of "The Fox" by Swedish sensations Niki And The Dove who glue their track together with a grinding, bashful beat. This background onslaught deeply roots the song to provide pyramidal rigidity and consistency which allows Churches' other musical elements to enter the fore and dazzle eardrums. Intermittent electrical 'sighs' for want of a better word, agitate the backing drum beats and skip between Mayberry's staccato lyrical deliverance in tandem with abrasive mechanical keying. The effect is punchy and feels viscous in places where Mayberry's 'stop-start' performance in combination with the interacting music connotes a sense of suffocation and emotive flux. What is most attractive about "Lies" is the chorus. The almost laboured and exasperated vocals tell a story and are soaked in lyrical sensibility bringing a dynamic edge and tangible depth to the track all whilst a dramatic audio battle takes place in the background where menacing synths bludgeon industrial beats and drums. The energetic compositions of Churches makes this first single completely enthralling adding a new direction to electro-pop that we are not usually accustomed to, their follow-up will be eagerly anticipated.
Yet another male/female pairing for you here; The Brooklyn duo of Matt and Kim have been around since 2004, were signed to the popular Fader Record Label back in 2010 and have since then developed a rather loyal fanbase. Their sound is delightfully playful, bringing pop music back with a sense of credibility and logic by whipping together intricate electro segments into an alternative mix that is perfectly commercial yet wanders the right distance away from mainstream mediocrity. "Let's Go" is a bashful collective of chanting lyrics, stargazed vocal murmurs and a continuous jaunt of simmering keys which underpin the song in it's full form. Full of juvenile gusto the chorus is punchy, infectious and fun to listen to maintaining a steady tempo throughout.
WILDCAT! WILDCAT! - "THE CHIEF"
Take three bearded young men from Los Angeles, brandish them with enriched falsetto charms, drowsy tribal beats and tropical whimsy, then you have the dynamic and resplendent Wildcat! Wildcat!. Fostering a sound similar and altogether very reminiscent of Metronomy, St Lucia or NZ/CA Lines should appeal to UK listeners who have a tendency to swoon whenever a gentile electro display meets a flotilla of soaring pop characteristics. "The Chief" possesses a sunny vibrancy; charmingly brassy New Orleans-style beats lackadaisically parade along to mellow keys and hazy electro bleats, which gives the song an undulating fluidity and sense of relaxation. The unified vocal backdrop during each chorus generates the perfect balance of human and instrumental elements, offering a song that shimmers, saunters and reveres in it's own intricate musical layering.
FOXES - "WARRIOR"
Neon Gold's latest pedigree offering is the articulate vixen (see what we did there, foxes, vixens...oh forget it) Louisa Rose Allen who was born in Southampton and scuttled off to London when she turned eighteen in order to hone her entrepreneurial music skills and start her own creative journey. Having already set the blogosphere alright with the incredibly forward thinking "Youth", this instalment muzzles towards docile pop intricacies where an adamant drum beat gradually stomps forth and encourages lighter synth musings to jostle and collide all whilst Allen's gilded vocals smoke over heavy lyrics. "Warrior" sounds rather like Niki And The Dove meets Enya where mammoth choral build-ups give way to pagan originality. This is an enchanting track full of bounding sounds that sinuously interact and showcase how contemporary pop can and should be constructed.
ICONA POP - "I LOVE IT"
Somehow we at Owl By Night have only just realised that we forgot to blog about our darling duo from Sweden Icona Pop's amazingly infectious pop ditty "I Love It". Stockholm's finest are having quite a year; tours, appearances, sell-out gigs and greater interest from new-found followers in Europe and further afield. Their latest morsel is a rebellious calamity of thunderous beats, angst driven lyrics and grinding bass scratches that make Icona Pop's latest release instantly loveable and club friendly. Their nineties audio direction characterises the song perfectly as aggressive vocal chants throw away concordant musical landscapes in favour of youth splattered bravado and energy. Caroline and Aino once again package another explosive mix of sounds into something fun and ideal for jumping around and showing the world who is boss.
PINE MARTEN - "I CAN SEE"
The moniker of Pine Marten casts nothing but absolute mystery over the true guise of the person behind the music. All that is seemingly known about this digital sound wizard is that they reside in Derbyshire and laboriously churn out dazzling electro synth-pop with production line consistency. Pine Marten's most recent Soundcloud addition is the sublime "I Can See", which meticulously threads harmonic tinkers over stellar eighties beats and widely recognised arpeggio chords. Painting each musical element with glittery synth constellations evokes nothing but sheer decadence and musical charm, something rarely ever woven into contemporary electro-pop. Having such smooth rhythmic patterns enables the chorus to become a crescendo of vocal glamour and seamless production cuts. Spatially efficient, mesmeric and understated, "I Can See" exemplifies how slow-tempo synth-pop should sound in the modern era.
Sydney's Van She have spent four years under the limelight after their debut album "V" and it is clear to see why, they have been carving out the diligent follow-up "The Idea Of Happiness". Like a fiery culmination of Cut Copy, Strange Talk, M83 and Bag Raiders, this band sew together every positive musical strand and produce silken electro-pop brimming full of clonking instrumentals and tropicana synth base washes. "Jamaica" is a beautifully organised display of watery beats that shimmer with diamond wonderment amongst bubbly electro pools and delicate vocal wails. Tender yet euphoric, Van She manage to layer their tracks with tailored finesse and day-glow inspiration.
ZEDD FT MATTHEW KOMA - "SPECTRUM"
The DJ from Kaiserslautern, Germany is romping his way up charts and setting tongues wagging with his vivacious attitude towards producing glistening electro dance music. Gaining recognition both in Europe, North America and Asia underlines the fact that this DJ has bags of potential and "Spectrum" marries the powerhouse vocals of Koma with the bedazzling frenetic beats of Zedd into a futuristic dogfight of synths and vocal hooks. A mid-noughties dance revolution is on the cards as pumping bass and shuddering electro beats scuffle with youthful energy; a club classic for this year's summer.
BEBE BLACK - "THREE STRIKES"
Dorset-born singer Bebe Black has catapulted onto the music scene in the last few months courtesy of her feverish vocal range and bullish auditory sound. The female solo artist has already collaborated with dubstep maestro Benga on his firecracker "Icon" and now Bebe Black is armed and ready with her storming EP "The Black Lion Sessions". The angst of Katy B, the soul of Adele and the dynamite edge of Queen Of Hearts embellish Black's lofty vocals into a package that is unquestionably attractive and sets her apart from the majority. "Three Strikes" is laced with vulnerable emotive sentiments yet remains extroverted and pugnacious with a heady dub beat and crimson pop sensibilities; a sure to be hit.
SUMMER CAMP - "CITY"
Moshi Moshi's reliable heavyweight duo Summer Camp dish up their third offering "City" from their highly acclaimed EP "Always". Fusing omnipresent sea mist beats together with sultry urban rhythms creates a sweltering combination of sparkling pop flippancy mixed with neon blue electro vibes. "City" transports you to downtown Miami as Elizabeth Sankey's crystalline vocals tantalise Warmsley's electro switchboard arrangements, garnering a sound both soulful, pulsating and summer filtered. Odd Future's Hal Williams' purring slow-rap adds to the seductive vibes of the "City" soundscape; an absolutely brilliant track that is audio honey for the ears.
THE 1975 - "THE CITY"
The buzz words emanating from young city dwellers' lips these days sounds something like "The 1975" and it is obvious why. The latest group to sprawl out of Manchester's dynamic and abundant music scene possess an auditorium rousing sound steeped in powerful indie energy and charming pop undertones. Signed to Dirty Hit Records and drawing praise from Huw Stephens has helped the group gain much needed recognition. The 1975 have Immediately drawn comparisons to Little Comets, Arctic Monkeys and The Kooks, however their sound in our opinion is far grander, almost REM style body tingling invigorating where guitars build momentum, vocals and lyrics cascade with effortless poise and fuzzy bass lines hold everything together in an atomic bundle of musical vigour. "The City" is no exception to said description, utterly stunning.
Avec Sans are the vibrant London duality of Alice Fox and Jack St James. Relatively little is known about this pristine duo other than they have set a high precedence by stamping their own unique sound on the popular Bon Iver track "Perth", transgressing genres and generally mixing things up. Scrawling under many new music radars the Soundcloud hits and Youtube views are slowly but surely creeping up and it is clear to see why. Avec Sans behold a niche sound that is refreshing, seemingly pragmatic and experimental. The male/female twosome aesthetic has never been so concrete with acts such as I Am A Camera, DWNTWN, Purity Ring and Niki And The Dove becoming increasingly successful. Therefore this London collective have perfectly orchestrated their timing in which to maximise their impact and distinguish their sound from the offset.
"Heartbreak Hi" introduces itself with a noire-scape draped in neon electro vortexes interspersed by omnipotent French 'a la Daft Punk' warps of twitching and cascading spacial zorbs. This theme ruggedly underpins the song in it's entirety from start to end giving "Heartbreak Hi" a sense of anchorage and tapered efficiency. Avec Sans sculpt each musical layer using gentle hands and analytical minds with a constant leaning towards making breezy, engulfing pop that strays just the right distance into the realms of alternative. Fox's vocals are absolutely perfect for the duo's sound; atmospheric, colossal and beautifully vulnerable, each spoken word unlocks a flurry of emotions that compliment the lyrics of "Heartbreak Hi". The chorus has a fantastically uplifting hook that unifies the song's lighter pop traits with the murkier swathes of pulsating electro beats to produce a catchy track full of depth and dynamism. Check out the song below then show the two some love via the links underneath.
Anna Berglund and Simon Eriksson are a new Swedish duo hailing from Stockholm. Once again the Scandinavian Mecca of all things electronic and pop has produced yet another twosome with such raw talent and musical ability that it proverbially blows any overseas competition away. Years Away generate excitement with their powerhouse electronica; lavishly viscous, resoundingly dominate and heavily layered. "Starting Fires" is perhaps a more tentative affair with rousing warped beats, shimmering vocals and cosmological synth interplay that leads to a towering, anthemic chorus.
ARGENTINA - "CHALK OUTLINES"
Giving yourself the name of one of the biggest countries in the world and therefore something that is regularly entered into internet search engines is a clever move to promote yourself, but Australian Alex Ritchie who hails from Brisbane doesn't need to rely on his moniker, his music speaks volumes. With an amalgamated sound lying between Tim and Jean, Gypsy And The Cat and NZ/CA Lines you can clearly hear the watery echoes of fluffy instrumentals, lackadaisical vocal yelps and enigmatic electro backdrops; soft and intriguing, beautiful to the extreme. Keep an eye out for Argentina.
LIGHTOUTS - "THE BIG PICTURE"
Greg and Gavin are the Brooklyn duo Lightouts who are stamping their solid and thoughtful take on American-tinged indie rock. With a sound that is rich, raucous and professional in address these two guys have the potential to go big. With Lady Gaga having opened up for Greg back in 2007, the band surely deserve more recognition globally? Their metallic grit, greased instrumental obedience and guttural vocal lashings evoke sounds similar to The Cure, The Cribs and The Libertines. "The Big Picture" is a bold collective of guitars and peppered vocals that frenetically skiff between indie boisterousness and rock sentiments; genius.
LULS - "YOUNG"
This band are so fledgling that they have only recently developed a Facebook page. They are from the UK, are a three-piece and sound distinctively like a menacing hybrid of The Klaxons, Cave Painting, M83 and Friendly Fires. Their heavily veiled cloak shrouds the Luls package in mystery and wonderment which currently enhances the value of the music; astral synthesised landscapes where obsidian blades of electro stab through trickling pools of lightened beats and shoe-gaze keys generates an infinite realms of musical depth. Captivating and highly uplifting, "Young" is a monumental track that ticks all the right indie-electro boxes.
ELIZABETH ROSE - "READY"
This Australian siren who comes from Sydney proves once more that along with Sweden and Canada, Australia has such plentiful bounties of artists bursting with talent. Elizabeth Rose's musical styling leans towards Bat For Lashes, Charli XCX and Holland's Krause who share a fascination with warped electro and dishevelled pop compositions. "Ready" is the first wholesome affair where organic earthen beats underpin mantra vocals and vibrant orchestrated splashes of wild sound to produce a scintillating cacophony of dynamic raw noise dripping with electro-pop credentials.
Purity Ring are the duo of Corin and Megan who follow their fellow Canadian label mates Grimes across the Atlantic to showcase their dreamy alternative pop sound to eager UK audiences. With the Zeitgeist sound increasingly leaning towards moody, well crafted electronica it has never been more difficult to develop a unique and instantly attractive musical brand; The XX, Mmoths, Metronomy, Foxes, Queen Of Hearts, such artists are championing new forms of pop that offer depth and compositional worth, Purity Ring perfectly conform to such specifications.
"Fineshrine" imbues the very essence of Purity Ring; assured confidence, pioneering rhythmic portraits and intelligent genre fusion. Bringing together juxtaposing elements gives this song unfathomable depth where peaceful emotive scripture glide effortlessly across midnight blue lakes of dense electro thuds. With determination this song transcends instrumental fields and tiptoes with nonchalant whimsy between spectral staccato beats to take the listener on a journey of sound, sense and emotion. The opening line has garnered many fans of poetic forms and meticulous lyrical detail; "Cut open my sternum and pull my little ribs around you", utterly macabre yet beautiful and pure in utterance. "Fineshrine" continues further which a punchy deliverance of noise; primordial electro waves lap against cleansed synthesised landscapes with such clinical precision that the music ultimately feels ethereal and palpable. Purity Ring's seamless musical layering generates a sound so crystalline that it changes a listener; their heart is soothed, their mind caressed.
Owl By Night thinks the Canadian duo's silken alternative pop is both adorable and enrapturing, so be sure to get the album "Shrines" out now and to check out the brilliant music video directed by Young Replicant below then check out the links underneath.
In 2008, two years before Owl By Night made the transition from idea to reality, vlogging on Youtube was a favourite hobby that took up many hours of our precious spare time. Vlogging opened up Owl By Night to a broad, diverse and extremely welcoming online community and one person in particular stood out; a beautiful Icelandic gem of friendliness, joviality and ushered talent. We conversed several times about her singing voice and the stalled insecurities about chasing her dream, thankfully four years on inroads have been made at long last and the pristine starlet is beginning her musical journey in earnest.
Soffia Ósk hails from Eskifjörður in Iceland and moved to the UK after her father gave her the opportunity to follow her dreams of "Moving to the exotic place of England, where they drink tea and say 'init'", not our words Soffia's words. Having garnered a popular following and likable persona amongst the fledgling vlogging community on Youtube Soffia began to delve into online music video posting. In October 2011 she joined Stalking Horse Media where she hones her tender singer/songwriter abilities. "God I love You" is the debut single from this pocket charm who fashions together silken pools of breezy folk-pop with chortling instrumental thoroughfares. Sounding like Lena meets Lune, Soffia's vocal soundscapes are stereotypically Scandinavian; the crystal precision of echoed notes, enthusiastic determination from thought to expired lyric and the endearing lisped amalgams of words where English clarity and floaty Icelandic dialect huddle together with sweetened unison. Ósk's melodic charisma tentatively bubbles through each genial lyric and clopping chorus beat generating a song with pristine glacial dimensions full of emotive fragility, honesty and a warming spirit. Soffia is one to watch out for and Owl By Night wishes her the very best of luck.
Sometimes at OWL BY NIGHT there are just so many songs to blog about that there are never enough hours in the day to cope with such a rapid turnover of amazing music. Therefore, just like the "conveyor belt" days of Twenty Twoo Word Reviews, it is easier to just post multiple songs in one post with minimal info; keeps you entertained and sweetens the deal, wouldn't you agree? So feast yourself on some tasty music treats.
FLORENCE AND THE MACHINE - "SPECTRUM (SAY MY NAME)" (CALVIN HARRIS REMIX)
Florence Welsh and her machine have once again had a stranglehold on the UK charts and it isn't at all surprising as her latest batch of tracks have been absolutely fantastic, wholly living up to the reputation "Lungs" set as a phenomenal debut album. This offering is tweaked by the ever diligent Calvin Harris, smoothing off the gothic cracks and pouring metallic house lashings over this enlivening dance number with a pumping chorus and throttling beat.
ALUNAGEORGE - "JUST A TOUCH"
Aluna Francis and George Reid return with this wallowing mix of elasticated beats, warping bass line scuffles and sauntered hip-pop charisma, to coin the duo's self proclaimed sound for want of a better word. The London twosome are pluckily exporting track after track of intermittent pop morsels for their loyal fanbase and this offering doesn't disappoint; listen and enjoy.
MAN LIKE ME - "SQUEEZE"
The London duo of Johnny Langer and Peter Duffy are now synonymous as experts of crafted chameleon pop dipped in shimmering eighties vibes and contemporary electro fizz nuances. Their stellar application to each track makes their sound extremely fun, enlivening and encourages you to stamp around freakishly with energetic vigour. Bouncy beats, raucous synth splinters and a hooky chorus draw interest throughout.
CHARLI XCX - "YOU'RE THE ONE"
The 19 year old who is based in London has had many a compliment draped over her svelte pop figure since singles "Nuclear Seasons" and "Stay Away" first deployed onto the internet; her recent support role for electro gods Justice in Toronto consolidates the starlet's revered pop credentials. "You're The One" is a kaleidoscopic mix of Marina And The Diamonds meets Niki And The Dove where hollowed ground beats orbit irreverently around intermittent synth twinkles and gentile eighties pop fluff. Charli's vocals are full of blunt sugary angst, perfect experimental fuzz pop for summer.
DELILAH - "INSIDE MY LOVE"
When people continuously compare you to the legendary Sade and amicable The XX then you know you have raw talent waiting to be unearthed. With a splashing of incandescent vocal outpouring pottering around naturalistic wooden beats and tunnelled whirs Delilah creates a tropical reinvention of Jean Jacque Smoothie's original "2 People", giving greater emotive validity and trickling harmony streams. Her debut EP "From The Roots Up" is winning numerous acclaim due to it's rich compositions and fragile sincerity.