Straight out of the gates into a krautrock, psych sprint from Chicago group Montecore. The song comes from their One Night album that came out in May and they’ve already followed it up with a new album, House Fire Themes, which hits the same frantic, hyper-melodic hypnotic sweet-spot, Those kinds of songs that could (and should) go on endlessly as guitar solos fire off into the stratosphere, drums hit like a metronome and bass-lines tie it all together like Peter Hook on a bender.
Our Golden Friend/Fire Records
RVG’s new album finds them presenting a fuller sound with even greater depth and clarity in the guitars and the spotlight still firmly on Romy Vager’s declamatory yelp and melancholic musings.
Quality Of Mercy already had the defining ingredients of the RVG sound – The Smiths-like insistency and nimbleness of the rhythm section, those sparkling, chiming and shimmering guitars and Vager’s voice a commanding strident force out in front. What Feral does do is highlight some sharper songwriting with more space and dynamics, in a wider, more sonically detailed sound courtesy of producer Victor Van Vugt.
You can particularly hear the sound of The Go-Betweens and Echo & The Bunnymen amid the jangly post-punk and garage rock. It’s simple, melodic indie guitar pop but those guitars sound perfect in the way the notes tumble and cascade from the speakers, all frantically free-falling and forlorn.
I Used To Love You is a heartbreaking ballad par excellence with its ache and swoon perfectly conveyed, while Photograph sends the listener out on a high. Tentative at first, it builds into a glorious rallying cry. On Feral, Vager’s dissection of how it feels to be sidelined and disenfranchised is treated poetically and ultimately there’s a sense of hope and resilience that rises from the near perfect musical backdrop.
‘In CD’ is a collaborative release from UK duo Stuart Harrison and Peter Dunkley who have played in post-punk bands together in the past but more recently reconvened to explore intstrumental minimalism in the vein of Phillip Glass and Steve Reich.
‘In CD’ is a piece in two parts. The first section is built around keys and guitar circling, looping and overlapping as they build up a hypnotic pulsing post-rock sound. At the track’s mid-point the mood changes, while some of the central repeating motifs still drive the piece along, albeit with a more subdued and reflective tone.
Says Stuart Harrison: “We don’t think that In CD sounds anything like In C – but we took some of the compositional elements, and in particular how Riley instructs ensembles to play his piece, as ‘inspiration’ as we constructed our music. We compose through a process of continual improvisation without necessarily having a defined outcome or even a structure, which tends to take us into unexpected. We’re constantly surprised at what we produce! With this piece, however, we took certain motifs and played them in slightly different ways on different instruments, particularly in the second section.”
Says Peter Dunkley: “Actually, it should have been ‘In DC’ as the first part is in D and the second C. We thought In CD was funnier, though!”
Check out their profile on Spotify for a bunch of other new compositions.
Liquid bass, stuttering heartbeat rhythms and melodies that fold in and out of the mix, overlapping dancing with free-spirited interplay. These are the hallmarks of Tallinn’s track ‘At The Freeport’, an art-pop song that inhabits a beautiful sonic space.
The song comes from Varieties Of Exile II, the second in a series of EPs from the New York-based experimental pop project of Scott Whittaker.
What starts out sounding playful and tentative, quickly blossoms into something deeper and resonant on ‘Space_Schubert‘, a new track from an album that features an impressive array of contributors.
Plunderphonia is a new series of musical projects that create original music by “plundering” unexpected historical sources and genre blueprints. Developed by !K7 founder Horst Weidenmüller, the debut Plunderphonia album has been recorded by Grammy nominated artist PC Nackt – collaborator with Apparat and José González and creative head of The String Theory and Warren Suicide.
Continuing a theme explored in Henrik Schwarz’s 2018 Plunderphonia concert, which re- appropriated 700 string sequences, PC Nackt’s new album re-uses classical piano compositions that have been selected by music supervisor Hania Rani. The piano scores have then been played into MIDI by pianist Antonis Anissegos. And the MIDI Files have been “plunderized” (processed and played live) by PC Nackt through two Yamaha Disklaviers (MIDI operated classical pianos), creating compositions that take classical music into unexplored territory.
“It started in 2015”, says Weidenmüller. “A string arranger on !K7 had been writing highly emotional music and I was amazed by its intensity.” He decided to launch a sub-label, 7K!, to explore new classical and undefined music. “And from that moment I wanted to mirror the DJ Kicks series on the new label.”
The inaugural Plunderphonia album release from PC Nackt is set for release this Friday, June 26th release date on 7K!.
Albin is the moniker of Albin Johansson, a musician, composer, and producer based in Malmö, Sweden. Primarily using analog synthesizers and drum machines, he’s released material on a number of labels over the last seven years and performed in cities such as Malmö, Berlin, Vienna, and New York.
‘Mellandagar’ comes from his new EP Passage, and it cuts a wonderfully minimalistic swathe through the history of electronic music, from Kraftwerk through to the early 80s experimentalists in the UK who were adding pop aesthetics to the synthetic framework of the music. Bleeps, pulses, weightless drum machines and a playful sense of melody are the key elements of Albin’s track.
Danny Barwick is a Perth-based producer and singer who wrote ‘Mine Too‘ and the other songs on his recently released EP Naddi on a two month backpacking trip around India. He began his career in 2012 as a drummer, recording and touring in several bands before taking up production.
Inspired by the likes of James Blake, Nick Cave, and Thom Yorke, Danny’s music merges acoustic instrumentation with experimental electronic production and that’s the most appealing thing about this track, the way he weaves together the organic and the synthetic elements, topping it off with a wonderfully smoky, late-night vocal that recalls King Krule.
North Wales’ Kidsmoke released their single ‘The Bluest You’ back in April and it’s a wonderfully bright and sparkling slice of indie guitar pop that billows and cascades on the back of a pliable rhythm section and guitars that aren’t afraid to hit the effect pedals and soar above the clouds.
“This song is a live favourite of ours. It is a fly on the wall look into a household where one person’s depression is affecting everyone else who lives there. The song doesn’t address the feelings of the person suffering with depression, it is a sort of commentary from the viewpoint of the rest of the family.”
The band have released EPs and a string of singles over the last few years, in the process gaining great recognition from the likes of BBC 6 Music and NPR, was well as an invitation to play at the Robert Smith (The Cure) curated Meltdown Festival. Kidsmoke also have a new single out called ‘Layla’s Love‘ which reminds us of the pure, pristine melodies of Prefab Sprout and The Boo Radleys.