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!
With Venice being regarded as one of the most beautiful cities in the world, and having been a centre for art and culture for centuries, naturally it’s safe to assume that in growing up there some of that magic will rub off on you. Italian singer/songwriter Jacapo Rosetto, performing under his stage name IAKO, has released a collection of songs every bit as grand, elegant and impressive as the classical architecture of his native city. His debut EP Queen of Balance offers refined piano and soaring falsettos and stands out as one of the best EPs of the year. ‘Paint’ opens with a delicate folk sound akin to Bon Iver before expanding into a bittersweet choral sound, while ‘Bloodbath’ is all about the build as its mighty crescendo comes crashing down upon you. Vocally the title track bares some similarity to Sam Smith, ‘Stones’ carries a hint of vaudevillian drama, while the highlight ‘Vanishing Point’ takes a more upbeat approach, complete with some fantastic bass tones, that ends up reminding me a little of Five For Fighting. Showcasing a rich and varied array of musical talents, this debut release from IAKO offers a finely crafted and memorable first impression.
On paper I shouldn’t like NeoRomantics’ new EP, but in reality this quartet from Tulsa, Oklahoma have proven to be one of the biggest surprises of the year. Though it has plenty of roots in contemporary indie, Homecoming also draws a lot of influence from noughties emo. I missed that phase growing up, and as such the music has never held any power over me, I’ve never felt a connection with it. In NeoRomantics I have finally found some understanding. Any band can pull together all the things you like and make a song you’d enjoy, not many bands can make you see music you never liked before in a new light.
I can’t remember the last time I stumbled across an EP as good as the debut release from this Oslo-based trio… if ever? With Distant Star, Spielbergs have captured more brilliance in just five tracks than many bands could manage across five whole albums. There’s a curious conflict at work here. This is a release that has emerged fully formed, all the insecurities that new bands usually face seem to have been cast aside, as they offer up nothing but the best for that all important first impression. Yet at the same time, you have a sense of where there’s room to grow, of how this stunning first release is just the steadfast foundation for something even greater.
Americana is a curious one. It’s a difficult genre to put into words, yet you know it instantly when you hear it, as though it’s naturally ingrained in your spirit. Even more curious is the fact that much of the best Americana doesn’t even come from the states, it’s something you find the world over. Stray just over the border into Canada for instance and you’ll find incredible artists like Delta Jackson who offer heartwarming heartland vibes that are up there with the best of them. The wanderlust inducing ‘Willin’ sounds like it was pulled straight from The Last Waltz, while ‘Rise & Fall’ showcases the timeless beauty of Delta’s voice. The chilled out ‘Gimme One More’ is like the soundtrack to a summer daydream, ‘Blue Ink’ recalls the likes of Joni Mitchell, while ‘It Comes Down’ offers a more contemporary twist in the vein of Ryan Adams. Songs like this, that capture the Americana sound so keenly, have an ageless feel. They could have been big hits 40 years ago, and 40 years from now they will be just as potent and heartwarming as they ever were.
“What’s a man, anyway?” The question posed, and in some ways answered, by the new release from Minneapolis-based artist Andy Cook. Steeped in all the heartwarming hallmarks of classic Americana, and adorned with hints of 60s psychedelica and 90s dream pop, the EP provides an attentive yet accessible look into the human condition. It’s easy to make music about the dark underbelly of our new digital world and how it divides us, it’s much harder to look past all those distractions and focus on the things that we have in common and make us who we are; here, Cook manages both. The wanderlust inducing ‘Swirl’ whirls by like a summer breeze, ‘Red Lights’ boasts bright riffs and expressive drums, while the melancholy verses of ‘Run’ remind me of Isaac Gracie. The lumbering, other-worldly bass tones of ‘Nothing Changes’ really stand out, while the soft beat and soothing steel guitar of ‘Places We’ll Go’ just makes you want to lie back and watch the world roll by. With this new release you can either delve into the meaning behind it all, or retreat into yourself, the choice is yours.
I can be rather selective when it comes to instrumental music. It needs to feel complete, as though adding vocals into the mix would take something away rather than add in something that feels missing. There are two ways to do this: the first is to pack in so much complex and unique instrumentation that there’s just no room left for vocals, the second is to make something so calming and chilled out that vocals would just disturb the delicate atmosphere. Flicker Rate, aka Irish multi-instrumentalist Spencer Bassett, somehow manages to achieve both of these sounds at once with his third and final EP Skylight. It makes for the perfect background music, but under closer scrutiny all the fantastic little details become clear as day. The title track shows his work at its most mellow and melodic, ‘Shimmer’ factors in electronic elements, and while the guitar generally takes centre stage there’a a lot to be said for captivating drum work on ‘Cloud Drop’.
Belwood Music 