28 March 2014


Finally Phildel is back having successfully released her album "The Disappearance Of The Girl" to much positive acclaim. The Decca Records signing is one of the most formidable female artists in the UK at present with a work ethic that is second to none. Intimate thoughts, poignant lyrical honesty and a fundamental comprehension of music and its basic formation is what underpins her music. Latest album, "The Glass Ghost", is another tentative expedition into the London starlet's psyche and her fantastical pop realms. 

Lead track "Celestial" is a prime example of pop music that is devoid of frivolities and needless sound clutter by remaining a wholly subtle construction. Emphasis is placed on the three inputs of lyrics, vocals and perfectly orchestrated music to form the basis of a brilliant ensemble. "Celestial" seismically bubbles along with reverberated bass as Phildel's glacial vocals glide upwards throughout the song's entirety; working in tandem with such opulent lyrical poetry there is a sense that the spoken words agitate emotive strains within the vocal body of Phildel herself. This proverbial continuum is what keeps this song nicely ticking over. This is music when it is most appreciated, in a raw format that is easy to understand and relate to.

Check out the fantastic music video to "Celestial" below then follow the links underneath. Like what you hear? Then be sure to share, re-post and re-tweet this review.

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27 March 2014


Brighton's very own Royal Blood have had a stellar year so far. After the frenzy surrounding previous releases "Come On Over" and "Out Of The Black" the Sussex pairing of Mike Kerr and Ben Thatcher have bulldozed their way onto the new music scene with bravado and tenacity, allowing their music to do the proverbial talking whilst the duo sit back reserved and calm. No fuss. The band are professionals unto their own where nothing is ostentatious or unnecessary. Having a place on this year's NME Awards Tour alongside Temples reinforces such belief in the two. 

Latest single, "Little Monster" is a ballsy slab of state rock and guitar laden insouciance. From the offset cantankerous metal riffs grind against thumping drums with staccato fashion: music, vocals, music. The Royal Blood foundations are simple but robust. Kerr's bluesy vocals evoke similar workings by The White Stripes meets Queens Of The Stone Age to leave a sapid residual that throttles your ear canal over and over. "Little Monster" is festooned with greasy rock tendencies and stabbing bass lines; a metallic chunk of noise that showcases the energetic brilliance of Royal Blood. To think that these two may not have yet reached their pinnacle is extremely exciting.

Check out the Soundcloud below for "Little Monster" then be sure to follow the links underneath. If you like what you hear, why not share, re-post and re-tweet this review.

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It has been some time now since we blogged about Breton; London's intrepid five piece whose fractious genre bending and experimentalist guile has earned them a reputation as musicians who continually reinvent and explore. Indeed their latest album, "War Room Stories" showcases the band's pliable nature, atmospheric orientation and rudimentary logic. That is the BretonLABS way. After a brief recording spell in Berlin, the band have already churned out another exquisite track in the form of "Treadmill" which sees the band go decidedly left-field from their previous alt-indie blueprints. 

The introduction is a distorted expanse of intermittent Dolphin clicks and cascading pagan twinkles that quickly merge against a swathe of Deutsche-tech electronica. The combined elements within "Treadmill" work with surprising cohesion as punctured beats stagger forward with weighted precision and a sense of dictated rhythm. Breton know what to include and where to include it in everything they release. Digital forces eventually build into a crescendo of minimalist techno that fuses tropical soundboards with fervent dance beats and that, in turn, offers a tantalising glimpse at what these five lads can go on to create again and again.

Check out the Soundcloud below for "Treadmill" then go and buy the album "War Room Stories" via iTunes. Like what you hear? Share, re-post and re-tweet this review.

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Since his volcanic collaboration with our very own A*M*E last September, charismatic Frenchman Monsieur Adi has been a very busy producer indeed having already stitched together new EP "After Hours" in such a small time frame. Leading on from that, the Paris based musician has drafted in the sublime electronic duo of Bronwyn Griffith and Austin Garrack, better known to most as Canada's Electric Youth. They've created a track that is a divergent shift from the usual effervescent comfort zone of Franco-centric dance beats that Monsieur Adi usually resides within. First and foremost "Some Kind Of Love" epitomises the dexterity and malleable palette of Adi, for his latest jaunt begins as an undulating soiree that pulsates and lumbers against gradual synth battalions. Its very fragility, perfectly mirrors the thematics of the song's title and indeed its purpose, to detail love in a pure yet vulnerable state. The ingenious vocal purrs and haunting imposition of Griffith act irrepressibly by floating up through Adi's picturesque digital soundscapes to give a gentile rush of feminised emotion. A balance between what is computerised and what is naturally prevalent. Music in equilibrium that echoes Keep Shelley In Athens and Purity Ring. Watery electro that hypnotically squanders fluffy pop and brings it down to reality with a slither of bass and neon verve. 

Check out the superb "Some Kind Of Love" by Monsieur Adi ft Electric Youth below via the Soundcloud link then be sure to show some love and support by following the links underneath. Share, re-post and re-tweet if you like what you hear.

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Thumpers are the vibrant London based duo of Marcus Pepperell and John Hamson, Jr. The pair have managed to carve out a beautifully personalised sound built upon a solid friendship and involvement in other music projects ranging from the now defunct Pull Tiger Tail to the reputable Friendly Fires. The duo's first single, "Dancing's Done" instantly achieved B-list status on BBC 6 music along with tour support for CHVRCHES shortly after. Their latest LP, "Galore" has already continued this trend with many championing the record for its delicate arrangements and wafty alt-pop blends. 

Fellow single "Galore" imbues all the cherished nuances and customary scope that we have come to expect from Thumpers: melodic retrospection, alleviated tropical soundboards, fizzling guitars and wistful percussion interplay. The song in its entirety is a homage to shoegaze fantasy and indulgent Americana beach-pop. Woozy, inebriated and comforting all at once, the essence of Animal Collective, DIANA and Summer Camp is clearly evident but remains individual enough as a Thumpers masterpiece. A vocal plateau flooded with sparkly keys and warm synths, "Galore" effectively bathes in its own climatic finesse as fluid instrumental motions radiate and rise skyward as the song trickles forth with each passing minute and dreamy chorus. 

Check out the Soundcloud link below for "Galore" then be sure to pick up the similarly named album over on iTunes and follow the links underneath too. If you like what you hear then share / re-tweet. 

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11 March 2014


American producer Perseus is a mysterious chap. Little is known about the solo artist other than the label that he founded, French Express Records, has been making waves across the Atlantic for all the right reasons. His individual work ethic and ingeniously smooth productions however, are nothing short of astounding. In tandem with the fellow artists on his label's roster, they are all finally starting to appear on the billings for top festivals and garner interest on social media platforms. Despite being several months old, Perseus' most recent offering, "Shadow Of The Beast" is a silken wander into the deeper realms of euphoric house and mellow R'n'B vibes which lull gently at your aural senses. Have a little patience with this Perseus masterpiece for the introductory sequence is a watery thoroughfare of bluesy keys and docile arrangements that shows no obvious sign of unnecessarily hurrying along; the odd feminine hush is staggered between increasing tremors of bass and gradual sound layering. It is a cyclical affair, oscillating along before the bass line drops and injects a dash of energy into the single. The inclusion of Ashanti and Cassie vocals is a wise decision as each artist's soulful purrs compliment the nature of "Shadow Of The Beast" perfectly to a backdrop of cushioned beats and honeyed urban enchantment.

Check out the Soundcloud for "Shadow Of The Beast" where you can also grab a FREE copy of the single below then follow the links underneath to show Perseus some love. Share and re-tweet if you like what you hear and read too.

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07 March 2014


Macabre soundscapes fuelled by imposing resonance and, to quote from the artist directly, powerful majestic beats. Those are the descriptive terms that best describe the work of Owl Vision, the moniker used by Gothenburg based Swede Johannes Arnesson; a man who has a passion for electronic noises and sound manipulation. A creator of what he himself terms, "Death Electro." Having had public backing from Kissy Sell Out and sharing stages with the likes Style Of Eye and Toxic Avenger, Owl Vision is in good company. "Holy Shit" is a fantastic piece of electronic music. Simple as that. What strikes you first about this single is the sheer reverberating menace and insidious fluxes of digitalised noise that commences straight away; dark moody techno fuses with European beats into a perfect soundscape onslaught that ravages your ears. Despite the vicious accosting of your senses the whole package feels decidedly progressive as cantankerous bass lines tortuously build and grind against each other. Owl Vision manages to bludgeon, impale, garotte and crush his work with conflictive musical inputs. Everything in some guise or another represents a deathly connotation, such is the appropriateness of his self labelled "Death Electro". This track is bold and domineering, laced with irreverent anti-religious notions and provocative compositions it perfectly showcases a producer who has a unique, personalised style of digital musicianship.

Check out the brilliant music video for "Holy Shit" below then follows the links underneath. Share, post and re-tweet this review if you like what you hear and read too.

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05 March 2014


Dutch powerhouse Caro Emerald is a star. Fact. She is already a multi-platinum selling, chart-topping phenomenon across much of mainland Europe having her songs featured on countless TV commercials, winning notable international awards and creating her own label centred around a core team of individuals. A team with whom she extracts her best, most musically astounding talents from. Emerald's recent hit "I Belong To You" immediately stands out from the pop orientated crowd thanks to her penchant for retro jazz landscapes, vigorous samba and rugged ballroom vinyl movements. Couple all those exciting traits to a vocal performance that meanders between sounding serene and haunting in places to tenacious and imposing in others and you have a very formidable artist. "I Belong To You" screams Adele meets Duffy; a bronzed collection of smoking vocals, tempered angst met with lyrical fragility, sincerity and gusto underlined by enigmatic jazz flavours and brass musings. Emerald's crisp enunciation and tonal behaviours mirror inner thoughts and feelings in perfect unison. This is stylish pop music laced with integrity that draws upon past musical and social eras: mamba, horns, Paris, continental travel, fashion, ambience. Add a powerfully constructed chorus that could be mistaken for a James Bond anthem and it is quite safe to say that "I Belong To You" has it all.

Check out the music video for "I Belong To You" below then follow the links underneath and show this Dutch songstress some love. If you like what you hear in this review then share and repost.

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04 March 2014


London five piece Ecstasy first grabbed our attention over a year ago when their debut release "Frnds 4 Lyf" filtered onto the internet and set tongues wagging. Since then the band have recently produced the uplifting "Exhale" EP under National Anthem (CHVRCHES, Haim). They are a band with an innate ability to craft music that is cohesive; each member uses instrumental prowess to ensure that their input is complimentary to the other four. That belief is integral to Ecstasy and explains how they manage to compose such beautiful songs. "White Limos" typifies that aforementioned sentiment; an expansive introductory sequence of looped synthesisers and soaring reverb progressively builds into something that feels very dominant, encompassing and most importantly, tangible. Tropical echoes, dual male female harmonies and cascading digitalised sounds pore over your ear canals with soft whimsicality and gentile movements. Each fluid chorus is fuelled by cosmic electro undercurrents and a cavernous notion of space that continually progresses and towers ever higher. Ecstasy bathe you in an shoegaze veneer. A track such as "White Limos" allows us to vaguely imagine and comprehend what a musical Elysium may be like. To allow us to even remotely be able to do that, we can't thank Ecstasy enough.

Check out "White Limos" via the Soundcloud below, download "Exhale" on iTunes and follow the links underneath to show your support. Did you like what you heard and read? Be sure to share, post and tweet this review.

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03 March 2014


Veiga Sanchez is better known as Salt Ashes. We first reviewed the sensational pop matriarch from Brighton in February last year after an incredible Depeche Mode cover. Twelve months on and Sanchez has spent her time wisely forging a sound that straddles both shimmering discotheque and rippling urban rhythms. Her music is seductive and fluid, managing to venture the perfect distance away from mainstream commerciality into a world of atmospheric mystery and moods. Nothing too surprising when you learn that Sanchez is a big fan of Giorgio Moroder then. Her official debut cut is "Somebody", a swirling myriad of falsetto coos and sultry lyrical tones supported by glittering synthesisers and luxuriant bass wobbles. The song in its entirety never feels cluttered or overburdened. Instead, everything sinuously threads together and undulates with dynamism and poise. Something we have already come to expect from Salt Ashes. During each chorus you could be mistaken for thinking that this was Kylie Minogue or Queen Of Hearts due to the sheer feminisation of such musical compositions. These are women who charm. Women who know their sound from the offset and control their own expressionisms. "Somebody" is an elegant synth-pop excursion that takes you on a journey into the enriched disco psyche of Sanchez and leaves you wanting more.

Listen to "Somebody" in the Soundcloud link below then follow the links underneath and support this fantastic Brighton artist. Download her music via iTunes then post and share if you like what you hear.

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Charming and quintessential, New York pop vixen Annie Clark has been making music for a number of years yet still manages to ride a wave of forward thinking range and experimentalist nous. Working under her moniker of St. Vincent, the starlet already has her eponymously titled fourth album out and "Digital Witness" is one such single from it that nicely aligns itself to Clark's established breed of alt-pop. Squawking horns intermittently twitter amidst melancholic lyrical humour and stabbing beats. This latest track scuffles along at a delightfully unhurried pace so as to give each musical element a chance to bubble up through and deliver a brazen dash of musical differentiation; with a dry wit, Clark addresses the issues of monotony and the vapid existence of life, as the title of the song similarly reinforces to full effect and encourages the listener to engage both with words and sounds. Something many artists can fail to achieve altogether. It is camp and audacious, quirky even. Despite the blackened humour there is a sense of fun that emanates from "Digital Witness" as brassy undertones and jovial honks paint a very Man Like Me meets Goldfrapp portrait where pop is twisted and manipulated into a brilliant alternative sound mix.

Check out St. Vincent's lastest single "Digital Witness" and the accompanying music video below then show the girl some love via the links underneath. Share and retweet this post if you like what you hear.

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Mano's Daughter are Sarah Carter, Matthias Garrick and Dan See; three superb London residents whose ability to collide cathartic electro impulses with golden pop snippets is mesmerising. If you like Vanbot, Moloko or Niki And The Dove, artists who perfectly entwine genres together into one unified sound then you will enjoy Mano's Daughter. The band have remained particularly mysterious over the last year as their stupendous electronic compilations seep onto the web almost unannounced. Their newest release, "The Machine", is taken from the group's EP "Smart" and perfectly encapsulates the nature of their musical direction; eclectic blends of pop choruses, velvet harmonies and burgeoning electro judders that compete for recognition. This track feels almost compartmentalised and progressive in places. It seems to evolve as you listen and that is the interesting element that draws you in. Carter's neon vocals transcend Garrick's spatially computerised world to fill any silent void with ethereal warmth. This is anthemic pop intelligently built to surprise and intrigue as decadent choruses bloom, cosmic showers of electro rain down and sturdy drums invigorate. Mano's Daughter ensure every member's musical specialism is heard and the end result is always a fantastic pop track that is diverse and excellently constructed.

Listen to "The Machine" below and download it for free via Soundcloud then show the guys some support via the links underneath. Share, post and retweet this review as you so desire.

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