POP / ELECTRO / HOUSE / INDIE / REMIX. TWITTER: @OWLBYNIGHT123 / FACEBOOK: OWLBYNIGHT
09 October 2012
SOMETHING TO HOOT ABOUT: 29
TOO MANY SONGS NEVER ENOUGH HOURS IN THE DAY TO BLOG...
THE OTHER TRIBE - "SKIRTS"
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.