LISTEN: IYES - 'Til Infinity

*Originally published for The Line of Best Fit (6/11/13)

Brighton duo IYES shared promising demos 'Glow' and 'Lighthouse' earlier this year, and then went a bit quiet. Nothing could prepare us for the storm of ''Til Infinity.'

Mixing kitchen-sink drums with cooing vocals, bright synths and an eye-popping chorus, the duo’s new single is an immediate sell. Garage blips, warm boy/girl vocals and infectious melodies make for a thickly layered electro-pop sound that sucks you in seconds into the track. You know you’ve found a beauty when melodies rattle around your head after just one listen.

Catch IYES at Brighton Dome Studio Bar, Brighton on 22 November and Servant Jazz Quarters, London 25 November.

LISTEN: Glass Animals - Woozy [feat. Jean Deaux]

*Originally published for The Line of Best Fit (5/11/13)

It’s been more than a year since Oxford’s Glass Animals unleashed the unnerving, electronic sounds of 'Cocoa Hooves'. 'Exxus' ran in a similar vein. But a balmy, unexpected collaboration with Chicago rapper Jean Deaux proves we still haven’t worked them out yet, and neither have they.

What is clear, however, is the quartet’s love for experimentation. Where 'Golden Antlers' touched upon post-dubstep, new song 'Woozy' is an intelligent jazz/electronica/hip-hop hybrid, replete with brush-taps, fluid bass and Jean Deaux’s self-assured rapping.

Perhaps it’s not best to signpost genres here, but with the band’s constant evolution, a little orientation might be in order.

Glass Animals play Broadcast, Glasgow on 8 November, Concrete, London on 12 November, and a hometown show at The Jericho Tavern, Oxford on 14 November.

REVIEW: Gathering 2013

*Originally published for The Oxford Mail (25/10/13)

Oxford gets its fair share of buzz bands and international stars, but sometimes a quick journey to London is needed to satisfy musical needs. When Gathering comes to town, however, it’s all eyes on us.

The festival, now in its second year, sees more than 40 acts descend on the city for one night of explosive music across different East Oxford venues. It’s a real treat for music lovers.

First on at the Cowley Road Methodist Church was singer-songwriter and St Edward’s School alumnus, Nathan Ball. His lulling, acoustic songs are reminiscent of British songwriter Alexi Murdoch, with his half-whispered vocals and warm guitar chords. Nathan was nervous of playing to a tiny crowd in a giant room, but it did the intimacy of his songs great service.

A brisk walk up the Cowley Road to The Art Bar (formerly The Bullingdon Arms) found 80s synth-popstress Pawws entertaining a lively crowd. Lucy Taylor’s vocals were crystal-clear and the energy rose once she beckoned the crowd to move closer to the stage for 'Slow Love'. Impressive, upbeat pop.

Laura Welsh was the evening’s game-changer over in the East Oxford Community Centre. Her take on modern soul (akin to electro-soul goddess Jessie Ware) is astonishing, and it’s easy to see why she drew a big crowd. Taking things up another level is Rhodes, who plays to a busy crowd in Truck Store. The Hertfordshire singer-songwriter only picked up a guitar in January but, coupled with his beautiful vocals, it’s like he’s been performing all his life. He completely unravels onstage, tugging at many a girl’s heartstrings with striking balladry.

One of Gathering’s low points, as to be expected at an urban festival, is venue capacity. You have to queue for a good 45 minutes to see the bigger acts and you might not get in. This was the case for many London Grammar fans. The O2 Academy was crammed with excitable gig-goers. Opener 'Hey Now' sounded sublime, with Hannah Reid’s arresting vocals soaring high.

Restoring any faith lost in technical issues were Temples, upstairs in the Academy. Close your eyes and transport yourself to the 60s; here lies flowery guitar, prog-rock basslines, electronic organ and supple harmonies. They were the slickest act of the evening.

NME favourites Wolf Alice brought their 90s rock to the East Oxford Community Centre at the end of the night. Singer Ellie Rowsel’s raw vocals helped to build mini mosh pits – a sure-fire way to leave everyone satiated.

Despite inevitable, though frustrating, logistical problems, Gathering is slowly starting to establish itself against the big one-day festivals. We’re more than lucky to have it in our humble abode.

LISTEN: Álauda - Falling Star

*Originally published for The Line of Best Fit (4/11/13)

Proving that an elusive internet presence doesn’t always make for shallow creations, behold the stunning atmos-pop of Álauda.

With its twisted bass, banshee wails, phaser guitars and velvet synths, 'Falling Star' has so much texture it could be knitted out of a thousand sounds. Rather fittingly, vocals fall out of the sky, akin to Theresa Wayman’s (Warpaint) softly-spun vocal. Suddenly, just shy of the two-minute mark, the song warps into an altered beast with a different key and hurried, crystal piano. You’ll spot a new nuance with every listen.

We don’t know who Álauda is or are. We don’t know where she is/they are from. But we really like what we hear.

LISTEN: Bayou - Everybody's Gotta Learn

*Originally published for The Line of Best Fit (4/11/13)

Setting blogs ablaze since the sugary bedroom RnB of 'Cherry Cola' popped tastemakers’ ears last November, London’s Bayou (Hari Ashurst) returns with another sparkling, downbeat synth-pop tune – this time, a cover of The Korgis’ classic 'Everybody’s Got To Learn Sometime'.

Opening with unnerving, discordant harmonies, 'Everybody’s Gotta Learn' soon cracks its melodious whip with hearty bass womps, darting synth horns and a funk guitar duly dipped in the ocean. The track hears Ashurst’s vocals at their most intimate to date, whispering alongside creaking percussion and gently mechanised keys.

'Everybody’s Gotta Learn' certainly adds weight to Bayou’s consistency. We can’t wait to hear more.

REVIEW: Sundays - Of Eros And I EP

*Originally published for The Line of Best Fit (1/11/13)

Sundays is a tease. Log on to her social media profiles and you’ll be inundated with arty Instagrams that obscure her face, or life mottos and pictures of her breakfast. Much like her atmospheric electrosoul, the Vancouver artist is constantly toying between mystery and openness, between the spooks of minimalism and the warmth of soul. And this teasing is best expressed through the sensual sounds of her debut EP, Of Eros And I.

With sultry vocals, hip-hop beats and ghostly synths, 'World Of Our Own' could not be a more seductive opener. Sundays is a clever producer; she somehow manages to keep the stems of the track compartmentalised and yet completely together. When knuckle-crack beats drop and harmonies throb at the chorus, you can’t wait to hear the rest.

'Forces' carries over the deep hum of her vocal whilst acoustic guitars gleam in the background. Lyrics detail an immeasurable lust, "Forces beyond all of my control/I feel the tension slowly build/I don’t know what to make of it/I thought I could escape your touch", whilst tribal rhythms rumble beneath. There’s exoticism and honesty running between the sheets, once again playing on the distant/intimate dichotomy.

Slow-motion tempos and thin electronic pulses can make for a disengaged moments on the record. The centre of the EP is littered with drowsy tracks ('Behind Her Every Purpose', 'Hope It’s Enough') that smile at the consistency of Sundays’ gorgeous vocal but frown at the music’s tedium. Perhaps these unhurried songs are simply her style, but there’s not enough upbeat numbers to justify the further drop in pace.

Contentment closes the record on 'Things You Do', which hears Sundays at peace with her Eros. Vocal harmonies chase each other’s heels and makeshift beats thud with bright and cheerful synths. It shows the potential for future musical directions, more in line with bubblegum RnB.

Even if Of Eros and I is meant to be full of slow jams, some songs do lack an essential energy that leaves the stronger tracks noticeably so. There’s no doubt about Sundays’ raw talent though; here is a new artist playing freely with modern soul. It’s a welcome experiment.

7/10

FEATURE: Tracks of the Week - 1/11/13

*Originally published for The Line of Best Fit (1/11/13)

Another week has flown-by and with it a bounty of new music. Here’s our pick of the best tunes from the past seven days.

There’s no stopping Brooklyn popstress, Empress Of. Earlier this week, her supple vocals were heard jumping their way around a brilliant duet with Amateur Best. Then she suddenly dropped 'Realize You' and everyone’s mouths fell open. The track is daring, fresh, and addictive – surely a contender for those end-of-year best ofs.

London newcomer Manou gave us the first taste of her work with heavyweight producer PNUT (Dido and Amy Winehouse) on 'Sadie'. Glassy synths pepper her youthful vocals and half-rhymes flow through airy harmonies. It’s a very impressive debut from this 16-year-old who shrieks of early Marina & The Diamonds. We can’t wait to hear more.

It’s certainly been a good week for Scandinavian/Nordic artists (Akiine, F U R N S, Jacob Douglas) and a welcome return from Iceland’s Rökkurró. Back after a three-year absence with two new band members, the band presented 'Killing Time', a restful orchestral song fleshed-out with electronics and group singing. It’s an intricate track that thanks you for close listening. Maybe it’s all the attention on Airwaves festival, but the music that arrives from those northerly Arctic winds is constantly rewarding.

Cornish sisters Hockeysmith fittingly spooked-us out yesterday with their latest track, “Meanwhile.” Meditative, experimental and electronically crisp, “Meanwhile” sounds like Warpaint in afterglow, replete with erratic rhythms and ethereal synths. It’s anyone’s guess what goods they’ll come up with next.

Lastly, Kwabs showed-off that voice on the SOHN-produced, 'Last Stand'. His soulful vocal is fed repeatedly through SOHN’s rooted synth and bass until the earth in shatters at the crescendo. The stormy, plainchant-like backing vocals might make the gods above a little angry too.

Listen to our selection of the week’s best tracks below: