29 April 2013


                                          Photo by Andreas Öhlund

We first blogged about the dual sister partnership of Say Lou Lou last September after being entranced by their debut electro-pop masterpiece "Maybe You". Miranda and Elektra Kilbey instantly demonstrated how their fantastic production values and immaculate sounds layers are based upon a fondness for expansive synth backdrops and lofty vocal melancholia. Despite a name change and the tribulations of creating their own record label titled à Deux, the increasingly popular Stockholm/Sydney pairing generate sounds that sit neatly between the spacey explorations of The Sound Of Arrows and the assertive musical rigidity of Years Away, highlighting further that Swedish music really does set unprecedentedly high benchmarks for others. Say Lou Lou's follow-up single carries on where the sisters left off and maintains all of the adorable characteristics that made "Maybe You" such a hit. "Julian" starts off with relaxed tribal beats that bubble towards the surface to dance intimately with bronzed synthesised updrafts generating a majestic display of sound that has both a calming effect and the power to evoke emotions from within. Say Lou Lou ensures that "Julian" remains a solid dream-pop track by encouraging soft musical elements to huddle together producing a fluid, smooth chorus where gently brushed keys, poignant sound plateaus and the delicate exhalations of the two Kilbey sisters give a sense of fragility and a desire to comfort. This electro slow-burner reinforces the fact that Say Lou Lou have a sharp eye for changing the way we see contemporary pop music, transporting us to their ethereal world of sound and making us feel a hundreds times better for it.

Check out "Julian" below via the Soundcloud link below and then tell us what you think of this latest track from the Swedish sisters by leaving us a comment.

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25 April 2013


Urban Cone are another music act to spill out of the talent pool that is Stockholm. The Swedish five-piece consisting of Magnus, Jacob, Emil, Rasmus and Tim have already had a string of hits in their native Sweden and with airplay via H&M's UK playlist over the past year Urban Cone are slowly becoming recognised on our shores for their pop savvy mixes of indie and fluffy electro. If you mashed Delphic and Fenech-Soler circa 2010 you would ultimately produce a gleaming and bright-eyed Urban Cone which is something all together rather special. Their latest single "Searching For Silence" sticks to the band's genetic music structure; a penchant for synthesised regalia, zorbing beats and twinkling pop full of soaring vocals. Glacial guitar melodies ripple through the introduction amid steady drum beats and bass thuds to instantly inject some pep into this indie-pop scorcher; delving into multiple genres and pinching the best characteristics of each individual style has allowed Urban Cone to produce a song plumped full of interesting soundscapes and reliable noise undulations. As the lead singer's seamless Nordic harmonies rise upwards they create an ethereal focus to this track and such interpretations are bolstered by the beautifully composed lyrics that remain simple and humbling upon the ear; "I'm going to fly like an eagle, away from the city lights, fly into darkness". The whole affair has that edgy Scandinavian feel about it whereby each music element streams past in a brilliant act of unison to furnish a sound that is current, appealing and above all, interesting. "Searching For Silence" possesses all the hallmarks of yet another Swedish masterpiece and offers a lovely slice of electro tinged indie-pop for listeners.

Check out the music video for "Searching For Silence" below and then tell us what you think of Urban Cone's latest effort and leave a comment or two below.





Surrey based brothers Guy and Howard Lawrence make up the enigmatic electro-garage duo Disclosure. They are currently riding on a huge wave of success courtesy of last year's infectious hit "Latch" and their follow-up single "White Noise" that featured the edgy flavours of Alunageorge. Now the brothers have teamed up with quirky singer-songwriter Eliza Doolittle whose dulcet warbles and folk-infused isms provide the perfect juxtaposition against the crunked up garage-house milieus that Disclosure create so easily. "You And Me" is the third single to be lifted from the pair's debut album "Settle" and promises to be another surefire hit. Have a little patience with this latest offering, the opening minute is a tentative affair where sporadic house beats and chirping soundboard interactions spring up and weave around the luxurious chords of Doolittle in a very desolate, striped back format. Once this introduction sequence is over "You And Me" takes a dramatic upturn and becomes your stereotypical fiery garage number; Doolittle erupts into the foreground to paint a sizzling picture of attitude-dipped vocals that come across feisty and full of muscle, a massive transition from her indie-folk comfort zone. Disclosure compliment their guest's input with a diverse array of 2-step garage bounces, raucous bass flicks and pulsating house-style synth jabs; each chorus becomes an incandescent mix of sounds where garage, house and electro spar against one another craving attention from listeners and keeping the track driven throughout. The whole arrangement is saturated in a vibrant late nineties feel that marries older composition styles to those of a more contemporary slant, typifying the intelligent and experimental nature of Disclosure and subtly revealing what we can expect from the album. 

Check out "You And Me" via the pair's Soundcloud below and be sure to grab a copy of the debut album "Settle" when it is released in June later this year. Tell us what you think of this latest single, does it get your approval? 





23 April 2013


We have always loved A-Trak and his masterful landscapes of hardened electro dance that have given him a global reputation as a pioneer of the genre. His ability to extract calamitous noises and snowball them into an invigorating fusion is nothing short of extraordinary; the fact he has been in the business for so long and still manages to entice lovers of electronic dance into clubs is testament to his skills. This time the Montreal born maestro has teamed up with the equally renowned Australian Tommy Trash to produce what can only be described as a thumping club monster. "Tuna Melt" immediately starts off with a skittish tempo that drives this banger along at full speed; its voracious appetite devours the initial outpouring of psychedelic groans and blocky house murmurs to carry this tune along at a progressive and well thought-out pace. Reverberating bass thuds and nineties inspired vocal loops ensure this latest release absorbs all styles of high energy music and slams it against your aural senses. As "Tuna Melt" tumbles forth pandemonium is unleashed thanks to an eclectic array of techno squawks, synth undercuts and oscillating beats that successfully maul one another to generate a scene of carnage and conflicting noise interference. This is chaos. An enlivening, zesty type of chaos which suites such a genre perfectly. Each boisterous element of sound that A-Trak and Tommy Trash inject into this heady dance mix shouldn't work together on paper but the two manage to buck such trends, ultimately producing this volcanic beast.

Check out the exceptional music video below but be sure to not let the stunning visuals detract your attention away from the music. Tell us what you think of "Tuna Melt" and leave us a comment below.




21 April 2013


Go Native consists of Nick, Alex, Catherine and Joe who fuse the alternative natures of indie and electro with the dexterous foundations of pop. The Mancunian band are well known amongst their local music scene having partaken in BBC Introducing events and already laying down their debut EP, "Beaten By Butterflies". A lot of work, time and scrupulous effort has been poured into Go Native and it promises to be a welcome investment judging by the sounds the band are so deftly producing. With reminiscent undertones and characteristics shared by bands like Is Tropical and Gold Fields, Go Native delve into the viscous worlds of murky electronica and frenetic guitar confrontations, merging such elements with the fluffier traits of pop music. Upon hearing "Dunes" it is clear the band manage to perfect the way in which contrasting noises are spearheaded into one dauntless and phantasmagorical music alloy; the introductory sequence is fuelled by the extensiveness of Nick Toone's vocal relays: vast, empowered and filled with twinges of emotional receptiveness, they perfectly compliment the darker manipulations of sound floating around in the background that are devoid of human qualities. The band's penchant for software programmes ensure the techno-scapes that permeate through are enlivened and alien in feel. "Dunes" gradually builds in tempo and energy, disobediently straying from the genetic structure of verse-chorus-verse to create a sense of imposing noise and explosive dynamism. Threading synthesised bubbles of sound between paranormal computations and razorblade beats paints a musical portrait where indie, electro and pop work in a typically Go Native way that is both cohesive and intelligent. 

Check out the music video for "Dunes" and Go Native's Facebook below. Leave us a comment telling us what you think of this new band from Manchester.




Back in August we first discovered bassDrumsnareDrum, the moniker used by enthusiastic producer Jake Ridley. His phenomenally crisp and astute alt-chillwave electro number "All We Need" that featured the mesmerising tones of Betty Steeles showcased an expansive legion of beats and contemporary techno shudders that immediately drew comparisons to the likes of James Blake or Breton. More recently, Ridley inboxed us with something a little bit different that instantly caught our interest. The London based artist has always worked with a dedicated ethic and passion towards music; since the release of his "Pause/Rewind" EP bassDrumsnareDrum now serves up the "Blue Moon" EP; an eighteen minute behemoth split into three distinguishable sections with differing moods and compositions. Be patient with this lengthy track, you will be audibly rewarded for your loyalty. 

What is clear about this EP is that Ridley's sound has dramatically evolved and indicates his fastidious approach to creating imaginative and individualised sounds. The first two sections are a progressive exploration into the realms of trance and Balearic synth-tronica where galactic bleeps and robotised discord swirl around in a vortex of futuristic noise not too dissimilar to DJ Tiesto or Ferry Corsten. Energetic beats and anxious tempo switches crescendo build all the way through to instil a prolonged interest where the listener is subjected to absorbing noise changes and fluctuations. Nefera's wrought iron vocals manage to paint a stark human vein of realness amongst the data-input binary world that Ridley produces so vividly. It is captivating to hear such sounds when the genres are clearly not something niche or 'current' amongst music lovers, adding further mystery behind such audio frameworks. The final section entitled "2013" is an eventful thoroughfare of spatial whines and angular distortions bludgeoned mercilessly by repetitive synthesised stabs. The production is a culmination of the previous two sections and excellently upholds the drive and momentum needed for this EP. Ridley perfectly demonstrates how to thread modernised dance, trance and electronica into a tight, well executed package. His cosmological leanings garner a sound that feels like it hasn't necessarily been created yet, pioneering in some ways perhaps. bassDrumsnareDrum has once again managed to produce a fantastic world of music that highlights the skill and pristine production values needed for a venture like the "Blue Moon" EP.    

Check out the track via the Soundcloud below. Be patient and you will be rewarded. Tell us what you think afterwards and leave us a comment or two.



15 April 2013


                               Photo by Rikkard Häggbom

Swedish pop siren Vanbot has become an established name within Scandinavia over the years. Many native writers consider her to be the natural predecessor to Robyn. Big boots to fill indeed. We first mentioned about this Stockholm beauty in the latter part of 2011 after the release of "Lost Without You". Vanbot, whose real name is Ester Ideskog detailed her love of night time bike rides around the capital and determined "DIY Spirit" as influences upon her unique sound. Thankfully none of that has been lost as we re-establish our love for the yet-to-be signed singer and her sparkling new track, "When My Heart Breaks". The creative partnership between Ideskog and producer Sebastian Forslund has once again bore a truly mesmerising globule of synth-pop wonderment that carefully attaches itself to the current niche for scuzzy-bass whomps and segmented noise explorations that artists like Ellie Goulding perfect so diligently. "When My Heart Breaks" is a song immediately dissected by frantic synth glitches and clicking soundboard manoeuvres that convey the emotive catalysts for penning something steeped in such lyrical fragility. The negativity surrounding the breaking of Ideskog's heart is channelled into a pumping assault of crushed up bass splurges and garotted synth bodies that surprisingly pounds through your heart if the volume is high enough adding further dimensional facets to the mix. Between such a voluminous affair of music, Ideskog allows succinct and blunt lyrics to filter through, "It's always one step forward, two steps backwards". Such words chisel away at the pop frivolities and make this a raw, fractured song guided along by thunderous choral explosions where sound and emotions meet. Swedish synth-pop at its best.

Check out the music video below of "When My Heart Breaks" below and show Vanbot some love by following her on Facebook.

What do you think of this latest song? Tell us what you think and post a small comment or two.





                                Photo by Elena Sansigre

Music is cyclical. Underground movements rise, become a temporary Zeitgeist phenomenon, then slip back underground. Remember the dominance of The Arctic Monkeys? A distant memory almost. However, there has been an indie resurgence of late thanks to this repetitive trend setting. Bands like Peace, The 1975 and Palma Violets are once more making impressionable hipsters happy to be elbow bashing each other at gigs whilst swilling cheap beer amidst a sea of creepers and snap backs. Aside from that thought, Robert, Harry, Joe and Ben hail from High Wycombe, Buckinghamshire and make up the refreshing indie outfit As Elephants Are. The four-piece have already received a huge amount of support in the wake of previous releases "War Cry" and "Lucifer". "Youth Blood" continues to stamp down the same veins of smouldering indie tribulations and instrument uproar that are already synonymous with the band. The intro sequence to "Youth Blood" is a feisty concoction of temperamental verse and copper soaked guitar hooks that moodily work in conjunction between the rousing solidity of Ben's vocals. Streaming past are wildebeest drum layouts and fuzzy bass purrs to evoke general energetic discourse. The tempo shifts between verse and chorus make this all the more punchy and highlight the musical synergy achieved by funnelling such intensive guitar interplay and colossal drum thuds across a strong vocal backdrop. "Youth Blood" encourages you to appreciate each differing element being added to the music as something sublime and professionally thought out. This is a fantastic indie number indeed.

Check out the music video to "Youth Blood" below then show the guys some love and follow them on Facebook. What do you think of their latest release? Tell us your thoughts and leave us a comment.





                                Photo by Ævar Páll Sigurðsson

Stockholm, that quietly cosmopolitan hub of artistic sophistication, experimentalism and clean living, has produced another brilliant duo. Just days after we blog about fellow city dwellers Vaz (click here) we then see a courteous little message in our inbox from W&I; a brand new, exceptionally gifted Stockholm pair who share a sound similar to San Cisco or DWNTWN. Ola Wilhelm Tappert and Sandra Windahl forge a beautiful relationship through sound; they each know the tiniest most intricate musical detailing of one another and gently wrap those individual skills into a humble little package for ears to nibble on. Their eponymous debut EP includes the first official release from the Swedes, "Dreamy Creature". The introduction instantaneously hits you with lofty swoons of synthesised adoration and sultry key circles making you think that it has been uplifted from some Australian eighties soap opera and tweaked with modernised inputs. The day-glow hues of synth and cloudy whimsicality of non-committal keys make this a visionary track from the start. The whole composition saunters along with a hint of joviality; here there is a happiness squeezed between instruments that bubbles through and smothers this track in positivity. There is nothing shocking about W&I's latest track; no exorbitant beats, no vagabond lyrics, just blissful music. Windahl's smoky chords drape themselves tentatively over the soundboard and paint a delicate coat of ushered gasps and sighs of retrospection whilst the chorus is an expansive arena where astral compositions of music majestically entwine. Sweden can add yet another talent to their list of music geniuses.

Check out the music video for "Dreamy Creatures" and pick up the song when it is released on April 17th or follow the guys on Facebook.




10 April 2013


Once again Sweden serves up another eclectic brash-pop duo in the form of Stockolm-based sisters Jenny and Cecilia. They join the vast list of talent that Sweden has already provided; think of Icona Pop, Frida Sundemo and Vanbot and you begin to realise that Sweden really is at the forefront of producing ingenious pop worlds. With roots stemming from Cape Verde and a flavoursome influence of Creole mantras and frenetic tribal beats Vaz bring a new slant on traditional pop blueprints. Having released debut slice "Miss Frost" last year the formidable pop queens have since embarked on performing at a variety of Swedish festivals. Now the pair have an infectious new single pumped full of boisterous drums and indoctrinating distortions; "Let It Rest" is full of maniacal changes in tempo and mood, frantically dashing between collective Nordic harmonies and eager percussion swirls as soon as the introduction begins all the way through to the final echo of bass. Vaz themselves quote their sound as "A dirty love affair between the urban and the electronic". They absolutely hit the nail on the musical head; fusing the techno musings of contemporary Svenska-tronics with a colourful array of primitive and pagan noises creates something very unique and exciting. The repetitive lyrics of "bones and flesh" provide a vivid atmosphere where vocals dance wildly in front of a plethora of background noise. Vaz manage to ensnare contradictory sounds and shove them along to produce a razorsharp take on pop. Once again Sweden show the UK how pop should sound.

Watch the music video for "Let It Rest" below. Leave a comment on whether this track gets your thumbs up or not. We'd love to hear from you.




05 April 2013


We first blogged about IYES at the end of last year (Click here). Brighton's mesmerising duo of Josh Christopher and Melis Soyaslanová well and truly catapulted themselves into the new music limelight during the last three months as they grabbed blog headlines, amassed Soundcloud hits and encouraged journalists to tilt their heads with interest at such salivating mood-fixated sounds. Their phenomenal debut cut "Lighthouse" has seen a continuous barrage of compliments thrown at it and with good reason. The pairing's melodic pilgrimages and scrupulous professionalism has put them in a fruitful position to assail the music world further. Latest effort "Glow" carries on where the Brighton two left off and reveals yet another decadent facet to the musical fretwork that IYES create. With an introduction of cascading cymbal waterfalls and Grecian classicality, this latest release automatically adopts a fluid delicacy that transforms seamlessly into an upbeat slab of organic-pop; invigorating vocal harmonies work in tandem as Soyaslanová's cute utterances are pierced by the explosive chords of Christopher: damning, evocative and full of energy. This track fuses fuzzy bass lines and cantankerous drum beats together with absolute ease; channelling such opposing sounds shouldn't work on paper but this credible duo manage such a task with deft hands. This is a vibrant track about falling in love delivered with musical tactility and masterful knowledge of composition making. IYES are a simply fantastic band that Brighton should be very proud of indeed.

Check out the IYES soundcloud and the link to "Glow" underneath and tell us your thoughts. Leave a comment if you like this track.




04 April 2013


The mysterious shroud that envelopes FTSE makes his music all the more intriguing with every release that appears on Soundcloud. Whilst his material has been on a 'show and tell' trip around the blogger community he is still relatively new and clad in anonymity. Our search came across the name Alex Maybury, part of Manchester's creative arts scene, but we would be foolish to completely assume FTSE is indeed Mr Maybury. The producer threw down four-track EP "Thanks" last September, that was dictated by isolated beats, singular rotations and murky expansiveness. Think of Burial or Mount Kimbie and you get a picture of something minimalist yet precisely tweaked and manipulated for an intended purpose. "Sirvyvin" epitomises the craftsmanship required for producing such a plateau of sound; nudging elements together into an electronic dream. This track stomps through with staccato beats laden heavy in a concrete mask. It is self assured to say the least and deals an imposing shadow over the entire production. Such solid beats feel almost clumsy in places yet they still evade the onomatopoeic slurps and grinds of FTSE's digital machinery to paint a conceptual motif where music and emotion jostle for attention. Spatial dins and thudded chimes give a blackened sense of frivolity on "Sirvyvin" as you patiently wait for the vocals to break the surface and turn this track into something exceptional and studded with lyrical succinctness: "Everyday we're fighting". Sublime and perfectly orchestrated through and through.

Check out the fantastic visuals of the music video for "Sirvyvin" below and then tell us what you think of this song. Does it get your seal of approval?

03 April 2013


California darlings Trails And Ways marked last year as one for experimenting with their sound and intuitively marketing their music. Singles such as "Nunca" displayed a flavour for rushing sounds and NZCA/Lines style dynamics that quickly got bloggers nattering away. Having performed and toured to a busy schedule the band entered 2013 at full speed with the release of remix EP "Detornar-se" and the expected release of their debut LP "Trilingual". Band members Hannah, Emma, Keith and Ian produce a sound where breezy vocals are painted over melodic instrument frameworks; a lucrative equilibrium deriving from the finely tuned links between each individual's input. The Oakland residents' latest offering "Mtn Tune" doesn't stray too far from the path, however, fellow Oakland legend Wallpaper has sculpted this track into something that is exceptionally different, yet still typically Trails And Ways. Beginning with inconsistent beats and rustic synthesising gives "Mtn Tune" a blotchy injection of energy and discordant nose collisions. Amidst such a furore is the enchanting coos of Trails And Ways that rise from a sea of glitchy techno snarls allowing such male female harmonies to soar upwards. The chorus provides an abrasive genre mix of erratic electro and Duestch-tech squeals that sits surprisingly well over the original layout and provides an intriguing composition of sound that showcases both Trails And Ways and Wallpaper's excellent production credentials. 

Listen to "Mtn Tune" below via the Soundcloud link then tell us what you think. Does this remix get your thumbs up?





01 April 2013


It has been a long four years since Little Boots first exploded onto the music scene with her debut album "Hands" which Spearheaded the trend for glittery intelligent pop championed by the likes of Ellie Goulding and La Roux. However, music moved on to pastures new and Victoria Hesketh started work on her follow up collection as a result. Having teased fans with tracks such as "Shake", the London based starlet has been remoulding her sound into a tighter audible package. The reverberating bass and twinkling digitalised regalia have been eroded away to reveal a delightfully minimalist vein of sound that Little Boots perfects so well. "Motorway" is the epitomisation of efficiency and about delivering the right elements at the right tempo; gently oscillating basslines launch this track along and create a fantastic vision of joining a motorway whilst building speed. Italo twitch-scapes pulse excitedly between futuristic synth ruffles and grandiose key perforations; a style not too dissimilar to TEED. The gradual threading together of musical elements generates a reactive mix of dance undulations that compliment the feathered purrs of Hesketh and her lyrical tribulations. "Motorway" is what we have been waiting for from Little Boots; a brilliantly simple track devoid of material extras and straight to the point. With collaborative help from Simian Mobile Disco and Hercules And Love Affair on the forthcoming album "Nocturnes", it promises a lot from the young musician. 

Listen to "Motorway" below and tell us what you think by leaving us a comment.