28 November 2012


As you all know by now, we don't feel it is necessary to blog about every new act we can get our wings onto. We sift through and try to find a broad range of artists that you guys may love just as much as we do, then we blog about it in good time. However, it has come to that time again where work takes over and consumes any spare moment at home, then we allow songs to barrel roll into one huge backlog collection waiting to be blogged about. To play catch up and to get back on track this post will be a quick fly through of a bunch of tracks we are rather fond of. Enjoy you loyal followers.


This Brighton based band have been around for a decent length of time now having thumped their mark on the local music scene with their brand of renaissance indie. Channelling guitar pangs and intermittent drum beats together into a colossal fuzz-space of raucous sound is something these lads do very well indeed. "Without You" is an assuredly safe venture into the indie genre that we have all come to know and love; smouldering vocals flutter between eruptive guitar laden choruses and instrumental dogfights, such roguish dynamism is always going to be a winning combination. The New Union are a breezy collective reminiscent of current acts such as Shields, Satellite Stories and The 1975, bringing a tidal fluidity to their sound. Rousing and capable of getting your Fosters stained winkle-pickers to tap in rhythm, "Without You" has a classic brassy sound produced by wise and gifted young men.




A couple of years ago this hotly-tipped electro-indie outfit burst onto the scene after releasing infectious tracks such as "Lies" and "Stop And Stare", instantly gaining a loyal fanbase. Shortly afterwards lead singer Ben Duffy developed testicular cancer and the group called off touring and promotion. Thankfully Duffy is now fit as a fiddle and the Kings Cliffe quartet have offered up the first single from their second album. Anyone familiar with Fenech-Soler will appreciate their sparkling audio displays and strident bouts of electro-pop charm; "All I Know" sticks to this successful formula even if it does stray the boundaries of commercialism. With a jittery tempo, substantial beats and bedazzling synth architecture this track boulders along with vivacious electro-pop energy. A hooky chorus and effervescent vocal outpourings consolidate "All I Know" as a smashing number sewing indie, pop and electronica together into a fervent package. Fenech-Soler are back.



Touted as the next Lana Del Rey meets Claire Maguire this Danish siren fuses staccato glitch-board noises with ominous hand-clapping and tinkered keys to produce pop that is minimal, slick and above all else, very contemporary. Despite receiving accolades detailing her usage of fresh beats and pristine keyboard utterances there is a distinctively retro feel in places that the Nordic singer has instilled. An almost inebriated eighties journey of swearing and baring flesh runs as a common theme through this latest offering. "Pilgrim" is a typically Scandinavian affair that fuses pop characteristics with stellar electro discourse and indie divergence. With a vigorous chorus generating momentum, this latest offering from the Dane has the perfect amount of drive and energy. 


There is something strangely captivating about Goat. A collective of young Swedish adults who reside in the remote village of Korpolombolo which is famed for voodoo practices and all things black and magical. Add to that the band's penchant for diverse musical flavours and sounds that grace all four corners of the globe and you have a band that stands well above the usual majority who claw desperately for professionalism or alternative enamour. Looking beyond the bizarre name "Goatlord" is a track full of tribal beats, guttural mantras and pagan instrumental compositions that begins rather slowly, fooling the listener into thinking this is some ambient back track to a new dinosaur exhibition at your local museum. Wait longer and you are rewarded with a culminating array of musical inputs that destroys genre barriers to the extreme and rumbles along with menacing power.



Does anyone remember that rowdy and tenacious Australian teenage collective that went by the name Operator Please? Well if you do then you will be aware that the group have gone on a temporary hiatus whilst they explore their own musical journeys leaving the vocal talents of Amandah Wilkinson liberated and ready to "do her thing". That "thing" is a techni-colour explosion of pop traits and quirky eighties showmanship. Pouring decadent lashings of synths over bubblegum soundscapes that twitch, frolic and tip-toe makes "Me And You" a lively affair that takes the age-old pop rulebook, splices it apart and injects the perfect dose of modernised music spice into it. Think The Eurhythmics meets La Roux; fantastical and glittery, this is what pop is all about.




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