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.   


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