Any music fan will tell you that nothing compares to the feeling of hearing a song that just stops you in your tracks. Being so enthralled by a piece of music that your only thought is “what is this and where can I find more?”. That was the process I went through upon hearing the debut single from New York duo Guns For Gold, and I get the feeling their debut EP will evoke the same reaction from many more people. Electronic producer Alex Siesse and singer/songwriter Wes Hutchinson may have once been a part of very different musical circles, but you would never have guessed so from the way that all the different elements fit together perfectly like the cogs of some grand golden machine. ‘Loaded’ lurks within an understated ambience and periodically bursts forth with its triumphant chorus, before disappearing back beneath the surface to leave calm waters once more. ‘So Natural’ offers up some great piano driven pop melodies, while mixing things up with some interesting percussion. And of course the slow-burning powerhouse that is ‘Unravelled‘, which found its way into our top songs of 2018, rounds out the record in style.
Fans of The National, Daughter and Manchester Orchestra should check out the eponymous debut EP from Guns For Gold out 1st March.
Photo by Stephen Marva
One of the biggest draws of indie music is the DIY element of it. The fact that someone spent hours just experimenting with sound, embracing a creative drive to try new things, just completely absorbed by their own love of music. That same inquisitive and inventive side is self-evident within a matter of seconds when listening to the debut EP from Cathedral Bells. What is less obvious is the fact that what you are hearing is nearly all the work of one man. The playful bass line of ‘A Passing Phase’, the quirky throwback synths of ‘Homebody’, the airy haze of ‘Ethereal Shadow’, the brooding post punk vibes of ‘Memory Loss’. All of these tracks, which pull influences from across various decades into an amalgamation that’s entirely its own creation, they were all made at home, built up piece by piece. You don’t need to venture much further than the opening track ‘Cemetery Surf’ and the way it packs so much content into less than two minutes to see that Cathedral Bells is a project that pushes our expectations of what just one man can do. Blending dream pop, synthpop and post punk, this is a release that will tick plenty of boxes for indie fans looking for new music to get excited about.
Fans of The Cure, The War On Drugs, The Smiths and The Paper Kites should check out Cathedral Bells’ eponymous EP out 1st February.
In trying to be cool you just succeed in getting further away from it. Some of the coolest people I’ve met probably have no idea that they’re cool. It’s not about copying someone else’s example, it’s about soaking up their influence and doing it your way. It’s not about trying to tick boxes, you just need to be confident about doing your own thing. London’s Cocoa Futures do just that with their latest EP Recovery. There are plenty of elements within that capture the zeitgeist of the indie and pop scenes in recent years, but at no point does it feel forced or insincere in doing so. The effervescent bass line and punchy percussion of ‘Sink In The Water’ cuts through the otherwise downcast feel of the synth and vocals, like the one person content to stroll along and admire the city lights on a rainy night when everyone else is rushing around with their head down. The demented funk of the title track is reminiscent of St Vincent at her best and feels like a glimpse into an alternate reality where disco still rules supreme. Closing track Big Time starts with a stripped back indie pop feel before a slick solo cuts through the calm to end the record on a high.
Fans of James Vincent McMorrow, Rationale and St Vincent should check out Cocoa Futures’ new EP Recovery.
I like fancy production and impressive musicianship as much as the next person, but they aren’t necessary to make a great song. One of the best measures of what makes a song great is whether it moves you, whether you can connect with it, and for that all you need is a message to share and to sing it out with all your heart. London based artist Keeva does just that with her debut EP. Carrying all the charm and soul of classic Motown, with all the excess stripped away to leave something more delicate and vulnerable, this wonderfully understated release is about as honest and authentic as they come. While most records are like oil paintings, building up layer by layer, this is more like a watercolour, needing only a tiny drop of colour to fill the blank space. From the sparse piano of ‘Pieces’, to the gentle fingerpicking of ‘How Do I Tell You’, the music provides the barest framework for Keeva’s soulful and sorrowful vocals. Her voice is one of the best you’ll hear in 2018, and it is given plenty of chance to shine. The EP carries a timeless feel, a break-up record for the ages, proving that sometimes less is more.
Fans of Isaac Gracie, Joni Mitchell and Amy Winehouse should check out Keeva’s debut EP Four Sad Songs and a Ballad
They say that necessity is the mother of invention, but when it comes to music it often seems like heartbreak is the mother of creativity. That familiar torrent of hurt, anger and confusion has given rise to some of the most moving pieces of music over the years, and offered an intimate glimpse into the artists behind them. The mark of heartbreak is clearly felt on the debut EP from Canadian artist Jessie Munro. On My Own feels connected in a way that few EPs ever really manage, proving to be greater than the sum of its parts. ‘If Your Eyes Could Talk’ has hints of Lianne La Havas, while the vintage groove of ‘Under Fire’ offers an upbeat twist on heartache that reminds me of Fleetwood Mac’s Rumours. The simple but powerful riffs bring a real edge to ‘I’d Like To’, while the stripped back jazz intro of ‘Patiently I Wait’ soon gives way to an emphatic climax that ends the release on a high. What all these songs have in common is a clear focus on honest and meaningful lyricism, and the most wonderfully expressive and memorable bass you will hear all year. Jessie’s music is an enticing cocktail, mixing equal measures of the golden age of singer songwriters, classic soul and jazz, and contemporary R&B.
Fans of Lianna La Havas, Samm Henshaw and Arlissa should check out Jessie Munro’s devut EP On My Own
Have you ever gone for a walk at sunset? You could be walking along the most unassuming path, strolling past scenery you’ve seen a million times and take for granted, yet by some trick of the light it feels like a whole new world. The trees and houses glimmer with golden light, the clouds awash with colour like some impressionist painting, and you’re greeted at every turn by a chorus of birdsong. I get that exact same feeling listening to Sophie Morgan. This Cheshire born singer/songwriter doesn’t carve out a new path, she follows the trails carved out by generations of artists before her, but does so in a way shines some fresh perspective on it and makes it feel as though you’re experiencing things again for the first time. ‘Sons & Daughters’ is the kind of track that runs through your head when you just take a moment to yourself to watch the world drift by, while the delicate and dreamy ‘Lemony Girl’ reminds me of Billie Marten. Her mature songwriting on tracks like ‘Above You’ is remarkable for an artist so early in their career, while the Nick Drake inspired ‘Black Dog’ shows Sophie at her very best, her angelic vocals rising at its climax to meet the elegant swell of strings.
Fans of Billie Marten, Jade Bird, Hannah Grace and Freya Ridings should check out Sophie’s new EP Sons & Daughters.
A short while ago I made myself a playlist of my favourite submissions I’ve received while running this blog. It was only after I finished and took a step back to admire it that I noticed something; there were more songs from Swedish acts than anywhere else in the world. Listening to the debut EP from Gothenburg based indie trio Overjoyed just further fuels the thought that there must be something in the water over there. A Look of Fear, a Lack of Feeling seems to just appear out of nowhere to steal the show as one of the finest indie releases of 2018. The bright riffs and exceptional bass on ‘Downer’ duck and weave around each other like they’re locked in some high stakes race, while the bittersweet ‘Taxi Driver’ feels like an energetic ode to The Cure. The piano balladry of ‘Love Me Louder’ offers a more sombre and stripped back feel, before launching straight into the upbeat and ephemeral ‘Lights’. ‘Sweetheart’ takes a darker approach with it’s menacing opening riff and ‘Skin’ builds from a sparse opening to a thunderous climax complete with raw, impassioned vocals and emphatic drums. Overjoyed’s brand of “sadpop” offers infectious melodies, deeper meanings, and above all the need to just have more of it in your life.
Fans of The Cure, Vampire Weekend, The Smiths and The Vaccines should check out their debut EP A Look of Fear, a Lack of Feeling out 3rd August
We’re blessed to be living in the golden age of EPs. When they’re done right they have just as much sway over the listener as a full album, albeit condensed down into a potent little package. Quality always beats quantity, and there’s no shortage of quality to be found in the latest release from Toronto based artist Claire Coupland. Her new EP On The Other Side has, in just five tracks, surpassed most albums I’ve heard this year. Lead single ‘Bound For Love’ reminds me of ‘Unlike Any Other’ from Belwood favourite Foy Vance in its softer moments, but there’s a real momentum in the rhythm that pushes the song forwards and brings you along for the ride. ‘Love In Your Eyes’ offers some country vibes with its atmospheric steel guitar, Claire’s vocals steal the spotlight thanks to the sparse yet graceful arrangement of ‘Get Outta This Town’, while ‘This One’s For The Road’ boasts lush harmonies and a classic Americana feel. My personal highlight however would be the expressive bass tones and warm brass section of ‘Fleet Street’, reminding me in places musically of Dire Straits, and sounding like the perfect addition to any rainy day playlist. On The Other Side strikes me as one of the most memorable and consistent EPs of the year; a real delight, and one which I hope you’ll find a place in your heart for as I have.
Fans of Laura Marling, Joni Mitchell, Evening Darling and First Aid Kit should check out On The Other Side, out 27th July.
You’d be amazed how many electronic artists I end up turning away, citing that the genre is not my cup of tea. But no matter how rare, rules always have exceptions. London based duo NothingAboutME are the latest electronic act to have caught me off-guard with their debut EP Inertia. Around the airy vocals of ‘Bluebell’, the electronics and guitar effects ripple like the surface of a lake in slow motion, while ‘Summer’s Rain’ contrasts the sparse expansive verses with the droning guitar of the chorus to offer real light and shade. The title track boasts some understated bass lines and subtle R&B vibes in its electronic flourishes, placing as much emphasis on the notes the band doesn’t play as the ones that they do, and the tripped out ‘That’s for You’ is like the peaceful sound of life underwater in some secluded tropical lagoon. Sarah Stanton and Joe Dworniak walk a fine line between experimental and accessible with this release, bringing a vast range of influences to bear beneath the banner of Sarah’s crystalline vocals and Joe’s immaculate production. If this EP is enough to lure in a serial electronica doubter such as myself then you know it must be good!
NothingAboutME’s debut EP Inertia is out now and is a must for fans of James Blake, Behaving, Daughter and The XX.
Photo by HoJun Yu
The flower that blooms in adversity is the most rare and beautiful of all, and it was from the ashes of their former bands that the seeds of this new indie trio were sown. Hailing from New Jersey, The Rareflowers make a great first impression with their assured and eclectic eponymous EP. ‘Trip into the Sun’ uses hints of harmonica and some western style riffs to give an Americana-tinged twist on this melody rich indie track, while the EPs closing song ‘Shake‘ flits seamlessly between styles with the best of them. The combination of bright jangly 60s pop and funky bass tones makes the appropriately titled ‘June’ simply exude summery vibes with every note, while the airy soundscape of ‘New Generation’ is reminiscent in places of The War On Drugs. The Rareflowers have managed to cultivate a diverse sound while still maintaining their own clear identity, which is no mean feat. The band still have a lot of potential to grow, but this first EP shows a lot of promise and offers the firm foundation they need to be able to explore further.
Fans of The War On Drugs, Ryan Adams and Teenage Fanclub should check out The Rareflowers’ eponymous debut EP