31 October 2012



Brighton's very own Bat For Lashes has just released her latest album instalment, "The Haunted Man" in which the singer delves into a far more intimate realm of baroque glimmer-pop, full of song writing prowess and sincere musical credence. With this album Natasha Khan has essentially matured from her previous two stints; here she seems to portray the delicate nature with how a woman deals with the complexities of relationships and can flourish as an individual amidst angst and emotional upheaval. It is stark, transparent and stripped bare. We can only assume "Marilyn" is in reference to the 1950's Hollywood icon with lyrics such as "See your face and I touch you, black and white, You're a silver screen", although this could be representative of many things; fame, femininity, vulnerability. With those assumptions comes the musical interplay; grandiose theatre-pop haze a la Lana Del Rey meets Niki And The Dove's celestial leanings; swooping synth-pop loops muzzle against brilliantly orchestrated landscapes. Having input from Beck and ex-Ash member Charlotte Hatherley makes this song feel polished and crystalline; echoed lines saunter and instruments lackadaisically meander, further enhancing the effect of this absolutely raw and beautiful ode to self discovery and womanhood. 


Since 2007 Alt-J have slowly cultivated a sound enriched with folk-pop characteristics and strands of indie realism. They have had a fantastic year so far topped off by their Mercury Music Prize nomination that ties in with the release of their highly credited debut album, "An Awesome Wave". The Leeds band have a distinct sound that sinuously strings each individual member's talent into the overall product; starting off as a rustic affair, the addition of guitars, keys and bass make "Something Good" a finely tapered and neatly presented slab of pristine indie delight. The song's initial opening commences under a hazy shroud where Catalan infused guitar twangs float between stuttering drum beats. There is an overwhelming flood of emotions bottled up in this introduction; a sense of impending tension or an outpouring of thoughts. Despite such notions Alt-J manage to bestow this track in folk qualities; relaxing, frank and uncomplicated. Joe Newman's vocals offer a wiry serenade of lyrical provocation; challenging ourselves against the intricacies of life. The interpretive slant on "Something Good" imbues it further with artistic worth and credibility. This flotilla of indie-folk orchestrations showcases the skills this Leeds band have mustered over the last five years. This single is beautiful, yet modest and with a thought-provoking video to match it will leave you pondering life from another angle. 



The Ghosts are one of those bands that naturally fit together as if there was no doubt or questioning their origins. After meeting in 2010, former Ou Est Le Swimming Pool member Alex Starling and drummer Ian Palmer realised they shared a similar music vision; to produce synth-pop full of intricate audio detailing and contemporary facets. Adding the individual talents of Rayna, Alex and Dan allowed this band to develop into something fully fledged and dynamic. With a bolstered instrumental arsenal, this five-piece have already carved out their debut album entitled "The End" and set tongues wagging over their crystalline snippets of golden sound. "Underrated" is an enchanting fairground ride of haunting key pools and strident eighties back beats nudged along courtesy of a pulsating tempo. Bedazzling in places, this track undulates rather pleasantly between chimes and ringing swells in a manner that can only be described as salubrious. Starling's ethereal vocal flurries deconstruct the instrumental resonance and neatly parcel it into sensible chunks of sound that eventually feel uncluttered and well paced through each choral section. However, what differentiates this band from the majority is that they know their sound, "Ian had this idea of making an album that was like a dream; a mixture of fantasy world and reality, these two worlds colliding", states Alex. Meticulous, mesmeric and glacial, we think The Ghosts have achieved what they set out to do. 



22 October 2012



As you all know, nothing ruffles our feathers more than a brand spanking new act who defy conventions, alter the blueprints of music genres and do something different. Mvscles are one such band. The girlfriend/boyfriend Boston/L.A. duo of Cat Paternostro and Chad Montermini have already embarrassed a plethora of established alternative acts by receiving numerous plaudits and thousands of online hits in just a few months. Everything is instantly lovable about the magmatic Americans; their dexterous skill at producing music is second to none. In fact it is scary how easy the pair have sculpted a niche sound absolutely unique to them in such a small time frame; you could say the couple are pioneers. Cat and Chad are not ones to be pigeon-holed either, preferring to relish the complex labels critics associate with their music instead. From electro-pop to glo-fi they absorb it all. Mvscles after all, are Mvscles; this is about the pair's sound, not what people may presume or wax over. "Sweet N Sour" is a fantastic amalgam of noise, both juxtapositional and seamless all at once. From the introductory "woo's" that are reminiscent to Sway's "Little Derek" to the cosmologically channelled electro-gunk sound bubbles leading towards each chorus, everything is charming and enthusiastic. We especially love the cute little "sweet" that makes each chorus sparkle with glittery alien effervescence. The couple's nonchalant harmonies fuse together with youthful dynamism, like spreading sweet musical jam across a surface perforated by warbles, bleeps and animalistic chortles; the effect is all very dreamy and relaxing. Whimsical lyrics such as "If I hadn't met sour I'd of never known sweet" smooth the listener's soul, releasing feel-good endorphins aplenty. Their first single has this mesmeric sheen to it, where facets of irreverent music dash around playfully across galactic electro landscapes and lyrics remain open to interpretation for others to enjoy. "Sweet N Sour" is a musical masterpiece, we have had the first tantalising taste and now we want more.




We were saddened to learn that the UK's vivacious answer to Sweden's Icona Pop, our very own Oh My! had parted ways in the summer. All too briefly did the bashful antics of Alex and Jade's dance-pop trepidations and all out fun lose momentum. Sometimes though, people have to split and explore their own individual music paths, so we were ecstatic when we found out Alex was pursuing a solo career. Perhaps it was predetermined fate? Who knows? What we do know however is that the humble Lexie, as she is now referred, has dictated the direction of her music; breezy, refreshing and cleansed of previous pop determinants, a delightful and welcome transition it would appear. By covering Example's "Say Nothing", the gifted starlet has stamped her unique style on this track by gutting it of any excess and applying two essential ingredients, minimal input and simplistic application. The duality of crisp vocal harmonies working in combination with glossy keyboard chimes makes this a clutter free experiment of sound open to interpretation with assertive intonations seeping through to reveal pockets of emotive transparency. Weaving angst, annoyance and upset between trickling instrumentals gives a sense of depth to this track that stretches beyond the usual chart fodder giving Lexie's voice a resounding strength of character and infectious charm. Acoustic, folky and raw, Lexie has identified her sound and turned "Say Nothing" into a truly beautiful song whilst also establishing herself as a forward-thinking, entrepreneurial pop vixen.  






We first blogged about Brighton residents Dear Prudence after their stunning performance at The Great Escape Festival back in May. Since then Madeleine, Rick, Paul, Andy and Alexis have gone from strength to strength. Having had a very busy schedule this year the band have begun to establish themselves further, honing their svelte indie-pop sound into something very accurate and driven. The band have relocated to London where they are working on new material as demand for the five-piece's savvy lyric credentials and remarkable instrumentals increases. "Coming Apart Again" is a much more mellow affair from previous jaunt "Valentine" whereby this latest effort places a greater focus on the lyrical deliverance and how this interacts with each musical element. Poncia's glistening voice surges forth with absolute emotional intensity; a stark audible series of details which bores into any person's inner self and encourages sincere reflection. Mix this with jabbing warehouse synths and a dependable, constructive drum beat and the end product is an altogether rousing thoroughfare; anthemic choruses and pulsating tempo switches make this a really stand-out track for the band.  



We at Owl By Night love a band who can subvert any stereotype or preconceived notion and smash it into a thousand pieces, Satellite Stories are one such band who carry on doing this over and over again. The foursome from Oulu in Finland continue to thrash seemingly clinical Scandinavian production values into brazen Brit-pop charm and scuffled indie nuances. Yes, we have said it before, but this band is unquestionably British regarding their aural aesthetic yet they manage to stamp their own Nordic identity and make the whole affair rather unique. Dare we coin the genre "Fin-tish" (Finnish/British) indie-pop? We think it is a foregone conclusion. "Sirens" is another skittish fusion of electric guitar menace and feverish drum beats. Yielding a voracious bass line against further guitar pangs overwhelms the ears in places where aggressive sounds barrage your ears into submission; it is invasive, brash and full of fractious juvenile intensity. Having vocals that could be found on a Two Door Cinema Club or Little Comets track adds to the overall appeal too as clefted Finnish utterances melt sweetly against a brassy instrumental backdrop and sidle into each choral outpouring. Satellite Stories have never sounded so good.



The Chevin are a relatively new band from Leeds who aim to rejuvenate a sanguine British music scene with their brand of stadium anthems and rousing compositions. Since plucking themselves out of the unknown the band have already supported the likes of White Lies and The Pigeon Detectives and they have also received welcome feedback after the release of their debut album "Borderland". Stripping away the falsities and glamour of commercial music, The Chevin bring back the honesty of lyrics, the importance of instrumental unison and good old-fashioned opinions. They have made sweeping statements about the current state of affairs within the UK music industry, something rather controversial indeed, but the important thing to remember is this band have the talent and ability to go far. "Champion" is a monumental track that is designed to be heard by many ears in one place; an arena filling epic where manic guitars striate thunderous bass lines and drum beats; piercing the air with energy and emotive force. With notable similarities to The Killers, Delphic or Cave Painting this band clearly have found their niche; Goliath numbers that pound at your chest and grab your attention. Lead singer Coyle Girelli has a grandiose set of chords that soar to higher ethereal levels and captivate your soul; the perfect attributes you could wish for from a new indie-rock collective.





18 October 2012


We at Owl By Night sometimes just get too greedy with the vast amounts of new music out there to feast upon so we can get a bit behind on things, because of this we  are going to make this post a little different. We are just going to include a decent chunk of new music with only a sentence or two to keep things nice and simple; great for us as we can post much newer material fresh off the internet, great for you because you can get more out of this blog. WIN WIN!


The Danes never cease to tire in making excitable bubblegum pop with splashes of camp showmanship and disco fun. Whilst their last couple of tunes haven't set the charts alight we love them all the same. The clear sample of Whitney Houston's "How Will I know" makes this all the more enjoyable along with the cute music video. 


Whilst Montreal isn't famed for producing dance music, regardless of it's various sub-genres, the duo of Christian Srigley and Leighton James are quickly changing that perception. Labelling their sound as 'clubstep' is subtle yet rather ingenious and their thumping sound mixes serve up a treat for any energetic party-goer.



London's most up-and-coming music twosome once again showcase their awesome slow-pop urban flavours with this nifty slice of warbling beats and silky vocal clouds; an absolute delight to behold with a great music video. We love the mirrored dog statue!


Smashing together the eclectic dynamism of London producer and Radio 1 extraordinaire Mosca with the club-savvy chords of urban dance honey Katy B was always going to culminate in something lively and bashful; this track is explosive and echoes to past dance, house and garage joints of the early noughties.


"Luxury" is perhaps the most commercial offering to date from the talented urban rocket. Slapping a woozy collective of synths over a cumbersome nineties club beat whilst purring sweet lyrical candy works well for Banks, her forward-thinking attitude wins again with this track, the video is pretty neat too.


The London/Nottingham based band deliver pop music in a multi-faceted, daydream haze. Full of echoed vocals, misty beats and all out foggy regalia this group take the mediocrity of chart music and blast it into next week. Bathing in sizzling audio charms this shoegaze thoroughfare is the perfect winter antidote.


The plaudits and critical acclaim have been flooding in for this boy. The undoubted lovechild of Lana Del Rey and James Blake, Halls is a genius at hand; the professional mindset, haunting clarity of vocals and sublime minimalism show that the kid has talent oozing from every pore of his being. A truly beautiful song in every sense.


This song is a radical fusion of slow groove urban licks from the nineties mixed with Reggae and Drum and Bass progressions. Feeling nauseous in places this truncated slab of experimental noises and sultry vocal ripples perfectly highlights this Londoners pioneering musical skill.


The Brighton duo are still the "it" band of the moment it would seem; their second album is an artist's dream and they have fans from all four corners of the globe. The first cut from the follow up album is "Angels", which we love immensely but this remix by Bohdi manipulates the original into a seductive whirring mass of groovy beats.


The California four-piece from Oakland have created a track made of pure sunshine. Warm indie twangs, hollowed shoegaze vocals and spirited drums make up the very foundations of this song and funnel it into a very happy audio package. We need more bands like this in the UK that's for sure.

16 October 2012



Owl By Night has discovered another sparkling Swedish electro-pop duo who find meticulous ease in creating tracks of magical proportions. We have had Niki And The Dove and The Sound Of Arrows, so now it is the turn of Stockholm/Gothenburg producers Erik Lidén and Mattias Axelsson to assault ear canals with their brand of conflicting beats, boisterous muses and steadfast electronica. Released on Uniform Beat, "No! No! No!" starts off with an imposing drum beat similar to C.S.S.' "Move", lulling listeners into believing this is an indie-pop romper. Wrong, this song monstrously erupts full force with unequivocal electro flows, skittishly bouncing between temperamental synth mobs that thump at your chest with decibel ridden power. Swirling vocals lighten the metallic soundscape, draping sweetened tones amongst the oscillating madness in each chorus. Engulfing diverse sounds in cyclical cascades produces a truly hypnotic blend of music that showcases the Materikaa framework for future tracks; exciting and enigmatic. Thank you Sweden, once again. 



Shields were undoubtedly one of our main highlights from this year's The Great Escape Festival with a crowd pleasing performance full of instrumental power, soaring vocals and likeable Geordie banter. The five Newcastle lads have been busy doing a batch of successful, if slightly low-key gigs; pushing the Shields sound out there for people to feast upon; November sees the release of their EP, "Kaleidoscope", another exciting chapter in this band's story. Their latest single is an infectiously charming foray of brisk indie skits and bubbly pop simplicities where the golden strengths of guitar muse with juvenile key interplay. It is wholly refreshing to have a band that retains it's individuality. Where most bands have strayed into the realms of electro or dubstep, Shields have remained loyal to their brassy indie roots and pioneering northern pop intuition. "Mezzanine" strings together a rather cumbersome drum beat with breezy vocal artistry; the contrast is complimentary and fluid. Each added layer of sound seamlessly merges into the next; few bands can loop a gently smouldering bass between gloopy synth warbles, but Shields achieve this with pristine regularity. Full of verve and positive vibes, this latest effort is a pocket assortment of cohesive musical elements that culminates in superb indie-pop choruses and gracious lyrical sincerity. The music video is also fantastic; sock puppets will always produce a winner, reflected even more by the fact Kylie Minogue tweeted about Mezzanine. Socks have never been so musically adept; we love it. 



This American quartet have actually been around for the past four years having already released a couple of successful albums and securing a formidable fan collective. The group label their sound as a mixture of dream pop, yacht rock and shoegaze, which we categorically agree with considering the ambient transgressions witnessed with this latest single. With their new EP "Wanderlust" the band appear to diversify in order to establish a natural sound that has evolved from the band's origins and this is most apparent in "I Don't Feel It". Sauntering along at a tempo sufficient to feel driven and progressive this offering allows a rhythmic beat to underpin the track with energy. A placid convergence of keys, slithering synth toying and hazy drums manages to deliver an agile sound continuum that shrouds each musical note in gentle satin layers. Beguiling harmonies lure one in to feast on each audio slice of Windsor Drive's dynamic sound. Bridging pop and chillwave electro into something very deep yet allowing it to remain tangible is no mean feat, yet this band do it with seamless application.




Having such a fantastically random name like Ghost Beach makes your music that much easier for people to remember, so the fledgling New York duo of Josh Ocean and Eric "Doc" Mendelsohn have started well. Despite their relatively short history they have fashioned a sound that makes them unique by fusing the rambunctious melodramatics of eighties experimentalism with contemporary electro nuances; think along the lines of Van She meets Passion Pit and you get the beautiful mutation that is Ghost Beach. "Been There Before" is a delightful track full of effervescent synth warps and distorted computational whelps that infuse the song with a strange, warm ambience staining each wave of musical notes in sepia toned reassurance. The sentimental retro feel of Ocean's lyrics blush delicately in the company of mesmeric bass undulations and lacquered chorus build-ups allowing the song to bridge together the bravado of eighties synth-pop with modern electro soundstorms. Hazy, whimsical and with a penchant for invigorating music, Ghost Beach perfectly dissolve genres into something very mature and uplifting. 


With the current musical zeitgeist that is dubstep taking a lengthy stranglehold on the commercial UK Top 40 courtesy of producers like Nero, Skrillex and DJ Fresh, it has been a lot more difficult for raw dance music in it's various guises to pepper the mainstream. Accomplished maestro Don Diablo is challenging that; the Dutchman has unquestionable talent and spirited drive. With his brand new "Lights Out" EP freshly released on iTunes and having successfully toured now is the time to immerse yourself in the Don Diablo sound. Championed by Martin Solveig and Diplo amongst others, this Amsterdam resident's latest number entitled "The Golden Years" slings together raucous dance beats across abrasive bass terrains; ripping at musical noise with adrenaline fuelled freneticism and the viciousness of a mad dog. This tracks initially deceives listeners with pools of whispered bass resonance, whooping beats and watered down vocal planes. After that gentle affair Don Diablo crushes any fragility with armageddon dance beats and mangled techno jabs; this generates a chorus that stampedes full force at your ears. Pulsating, enlivened and punchy, this track is what a resurgent dance music scene needs.    



09 October 2012




The world and it's proverbial oyster has blogged about these lads who hail from Bristol and rightly so. They have injected the indie-dance scene with an intoxicating dose of pagan electro shimmers, celestial wooden hollows and animalistic beats. We saw The Other Tribe in Brighton at The Green Door Store last week and we haven't seen a performance with such dynamic energy and assuming stage presence for a long time. "Skirts" is a kaleidoscopic arrangement fuelled by schizophrenic dance thuds, converging natural percussion sounds and wailing vocals that beckons the ears, like a mysterious call from the forest, to smother on some face paint and dance to hedonistic liberalism like there is no tomorrow.



As if we didn't already have Pnau, Summer Camp and Van She to completely soak us with shimmering electro-pop of epic day-glow fuzzy feeling proportions then along struts this track out of obscurity. Bearstronaut, the intrepid four-piece from Boston dropped "Passenger Side" two days ago and we adore it. The intricate combination of layered instrumental echoes, tribal warbles, climatic synthesising and hazy pop residuals make this song absolutely compelling. The choral lead-up, the glistening vocals, they are entirely warm, charming and radiate musical euphoria. "Passenger Side" definitely casts aside notions that the winter is coming and encourages you to whip out the rollerblades and fly along the beach promenade. 



Lisa, Zeni and Femke are The Lips, a Dutch band who produce sweet pop morsels for your ears to guiltily indulge on. This latest effort rather clumsily slops a vibrating bass over lumpy synth lines to maximise the energy of the tempo and instrumental input which may sound like a bad thing but trust us, it isn't. The hyperactive rowdiness of the girls vocal collaborations give the chorus pep and sufficient drive to stomp through mediocrity and to deliver a decent pop ditty full of camp power beats, pugnacious pop hardiness and all-out fun.


This is one of those rousing songs with a catchy chant instilled in the chorus. The LA band Youngblood Hawke have garnered a huge fanbase over the summer thanks to this thumping indie-pop number. The cynics out there will merely dismiss this as cheese but we think it has a decent appeal about it; smacking beats, childish vocals interspersed between mature chords and monumental synth floods give "We Come Running" that weighted stigma that only global bands such as Muse can often achieve successfully. The effect is all very Owl City-ish but with a bit more compositional credibility and meatier drive.



Dutch-born, Berlin residing entrepreneur Thomas Azier has a vast knowledge of the music industry being an artist who wholeheartedly knows his sound and the complexities of the genre, which is something exceptionally refreshing and assured. Not only that but Azier absorbs the world around him and it's incalculable contrasting elements, picking the ones that appeal to him and threading them into his work. Pristine, full of clarity and minimally constructed, "How To Disappear" runs fluidly from start to end, dominated by Azier's strong vocals. In the build up to each chorus he enables towering synth obelisks to crash down spectacularly around rippling onyx pools of shuddered beats and murky emotions. Stunning is an understatement. 

08 October 2012


Once again we at Owl By Night have been rushed off our little clawed feet for the past two weeks so the updates have been waning. We have a list of backlogged songs as long as our wingspan so to save time and needlessly forgetting about songs we have found and discovered, we thought it better to do a mass churn out of super tunes just for your viewing pleasure. You get the new music you want in a short couple of days, we wipe the slate clean and can then blog more about new material. Happy Days!


We at Owl By Night feel like a proud parent when it comes to A*M*E. Having discovered the pint sized urban-pop princess in February this year after dazzling us with her first cuts "City Lights", "Ride Or Die" "Find A Boy", the Gary Barlow backed vixen has meteorically risen from previous online obscurity into a scintillating frenzy of clamouring media hype. Supporting The Wanted, JLS and Jessie J has paid off for the Sierra Leone-born charmer as people finally recognise A*M*E and her musical skill. The popstar's friendly nature, playful exuberance and juvenile charm belie a character whose professional enthusiasm and resolute determination matches the best in the industry. "Play The Game Boy" is the Londoner's first official track and it is mightily infectious. With a mantra-esque chorus, resounding computational beats and glittering synth prods the musical dynamics fight one another to produce a ballsy slab of audio based fun. With numerous inter-contextual references to K-Pop, "Play The Game Boy" collides scuzzy noises with mechanical vibrations amidst chameleon vocal transitions; soft urban purrs meet synthetic guttural repetitions. The final production is lively and eclectic, perfectly complimenting the persona of A*M*E and her musical vision.



Cue is better known as Niklas Hjulström who rose to fame in the nineties with his unique blend of uptempo, sparkling pop gems. The Swedish acting legend has returned to the studio once more to produce some pumping anthems and crystalline slices of solid dance-pop. Icily tinged keys drive this track along as Balearic synth pulses give the song depth and clubbing genetics that will appeal to the younger party-going generations who swarm to the Mediterranean. Niklas' vocals feel pure and echo unyielding flurries of truth via celestial chords and audible strength that build into a crescendo of storming beats and anthemic choral compositions. "Don't Wanna Lie" feels almost dated in places where certain interactions feel very early-noughties in sound and deliverance, but that is no bad thing, in fact, we kind of like it. Nothing beats a bit of old mixed with new after all.


Nothing really compares to the sheer excitement of discovering someone exceptionally gifted for us bloggers; Jess Bell is one such fledgling star that has got us instantly hooked. Having already been in a band called The Tommys, providing numerous voice overs and sculpting a little acting career, this girl has dexterous abilities and oozes music industry savvy; the next Florrie, Rachel Sermanni or Miriam Bryant you could say. Residing in Blackpool the unsigned blonde siren possesses a vocal range so gentle and pure, it makes hairs stand on end. Sincere, fragile and delicately undulating, Bell's voice wisps around your senses and nourishes the soul whilst viscous beats saunter along with casual ease painting an expressionist audio masterpiece. "Dandelion" is a tentative homage to unrequited love and the angst of relationships that falter, where traces of her own spiritual perceptions meander amongst gentle urban-pop beats and reggae flavours. Bell's voice is perfectly transparent allowing the listener to fully immerse in the lyrical interplay and message being sung, something ultimately refreshing and imbued with natural poise and ample talent.




What with The Wanted, JLS, Lawson and 1Direction dominating both charts in the UK and across the pond is there room for yet another boyband? That question will only ever raise conflicting opinions, however this band seem to have a slight edge on the aforementioned. Firstly they seem credible, professional and enriched with talent and secondly they market themselves with guile and sharp wit. Garnering an online fanbase, covering songs then producing their own has been an arduous journey but now Venice finally seem ready to sail the charts. "Killer In Me" is one of six new tracks from the debut EP "Volume 1" that laces together staccato key throw-downs, jabs of intermittent beats and floaty synth clouds into a indie-dance hybrid. Reminiscent of Delphic's sensational "Doubt", albeit watered down with pop characteristics, this track wields a tight chorus and resounding attack of complimentary sounds to please eardrums on either side of the Atlantic.



Having a supremely bronzed vocal proficiency Kiah Victoria could be the next Alicia Keys in our minds, with a past enriched by her travels abroad to Germany, Kenya and her humble experiences of residing in New York the young starlet has all the ingredients to be hugely successfully. Victoria's free debut EP "Look Up" has received positive feedback and words of encouragement from the online community too. Her single "Rooftop" has been honed by notable trip-hop producer Tolu, where sinuous strands of sassy R'n'B thread into contemporary pop frameworks of engineered soundscapes and modernised noise. The beautiful amalgam that is "Rooftop" details the joys of escapism and liberation from urban mania; this is perfectly mirrored in the song's composition where Victoria's songstress vocals soar to those proverbial rooftops to break free from manmade synth bouts and grinding bass mires. The minimalistic dubstep bridge that flows into the final chorus excellently provides a depth and sense of realism which works magically with the pop nuances of Kiah and her brassed vocal layouts; imaginative music created with silken aplomb.