Sometimes the greatest artistic endeavours can come from self restraint. Instead of endless ambition where anything goes, rather challenge yourself by setting boundaries and push them to their absolute limit. That’s the impression I take away from Parasols, the debut EP from Germany’s Floral Shop. As charming as the synthpop aesthetic is, it doesn’t leave much scope to experiment. That hasn’t stopped this quartet from tackling the idea as well as, if not better, than any other examples I’ve heard. They have their own unique way of reaching outside their stylistic circle for inspiration without fully stepping over the threshold.
The eerie introduction to opening track ‘Out of Touch’ soon gives way to reveal this release’s secret weapon; the most groovy and expressive bass you will hear all year. It underpins the whole EP but is at its most potent and prominent right here. ‘Around’ stands out thanks to it’s bright riffs which manage to cut through the synths without losing their light and airy feel, contrasted sharply by the downcast tone of ‘Float’ accentuated by its skittering electronic beat and sombre vocals. There are hints of In Rainbows in ‘ISO’, but it;s closing track ‘Anyplace’ that truly steals the show. The spiralling synths, electronic beats and droning guitar feel like you’re aimlessly whirling through space, before the purposeful post punk rhythm section shifts into focus to deliver a powerful climax.
Fans of Tame Impala, Gunship, M83 and modern day Muse should check out Floral Shop’s debut EP Parasols out 7th June
Time was that an artist would (understandably) try to make their mark on the world with their debut album. These days however things are a bit different. A first album is something that artists now build towards. It comes after building a buzz and a following with a series of singles and EPs. Now artists try and make their mark with their first EP, which can present much more of a challenge. Instead of summing up who you are, what you do, and what you’re capable of across a dozen tracks, they’re now forced to do the same with only a handful at their disposal.
These days folk just seems synonymous with “acoustic”. Often all that links various folk acts is the use of a simplified, stripped-back arrangement. Not to say that’s a bad thing, we love modern folk, but at the same time it could be so much more. It could connect with its roots, in tales and tunes passed down through generations, or it could look forward and push the genre into more exploratory forms. Barcelona born singer-songwriter Jane Silver manages to do a bit of both on her debut EP Wooden Fortress.
EPs are the weapon of choice for bands looking to put their name out there and make people sit up and pay attention, and for the ideal example of one done right look no further than I Can Fool Anybody in This Town. LIILY have not only made a real front-runner for our EP of the year, but it’s also one of the most convincing mission statements from a new band that you’re ever likely to hear. With their first EP this group of teenagers from LA have struck the perfect balance between passion and precision. It’s wild and fierce, yet never misses the mark, the musical equivalent of an apex predator.
One of the things that makes a good album is when it feels like a collection of songs that belong together. They each serve a purpose and come together to tell a story or take a snapshot of a certain space and time. It’s rare that you get this with EPs, they are usually just a few singles thrown together, which is one of the reasons that MAVICA’s debut EP stood out. Gone, while not expressly telling the story of the singer/songwriter moving to London from her hometown in Spain, does a great job at capturing the feeling of leaving your life behind. ‘Friethers’ is sure to resonate with anyone feeling lost and alone, and boasts the record’s most expressive percussion and synth work, while the melancholic guitar and wistful vocals of ‘Fire’ recalls a mix of Snail Mail and Isaac Gracie. ‘Plastic Heart’ is MAVICA’s most overtly pop affair with a fabulous hook that will stay with you all day, while ‘To Lie Alone’ is the record’s most complete package. Its soothing folk drifts by like a summer breeze, building to a powerful emotional climax, before settling back to where it began. It’s like watching the sunrise when the whole world is still, then having the day rush by in front of your eyes, only to watch the sun set again as the calm returns.
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 ‘
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.
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.
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.
Belwood Music 