UK Singer/Songwriter Derek Martin has released his new alternative album ‘Dreaming Out Loud’. The 10 track album is what he describes as ‘the soundtrack to the life we are all living in’, with lyrics focusing on love, friendship, joy and nostalgia. His passion for music was ignited by his love of guitar, spurring him on to write from the comfort of his Scotland home.
Derek Martin unfolds his bright cheery and wholesome tunes through ‘Dreaming Out Loud’. These tracks stride along a golden ray of optimism and positivity as warm guitar melodies weave through punchy drums.‘Calm Before the Storm’,’Superglue’, and ‘Kindred Spirit’ douse the album in cosy,lustrous tones while ‘Life in the Minor Key’ and ‘Fleeting Mind’ add a dash of alternative gritty rock into the mix with darker tones, jagged guitars and rumble on drums. The solo’s shred their way through the tracks maintaining the snappy pace of the album as well as providing some swagger. Martin’s vocals venture from smooth and velvety to powerful and raspy, he coos through the emotional ‘Ghost Town’ and ‘While I’m Away’ which features a sublime bittersweet guitar feature and he dynamically blasts out the power chorus in ‘Dreaming Out Loud’. Each track packs in oodles of passion as the album overflows with energy and meaning from every note. Martin explores a variety of tones from vibrant, soothing and tender to swagger-inducing anthemic bangers like ‘Graffiti on the Wall’– where the chorus has you dancing around the room without a care. His most delicate and emotional track comes in the form of the soft sweet ‘Nightingale’ which brings the album to a beautiful end.
‘Dreaming Out Loud’ is one heck of a passionate display from Derek Martin. Its honest, true and down to earth which makes it extremely relatable. The warm vibrant instruments makes these glorious tracks and come to life.
Country/folk group Magpie Diaries have released their long-awaited 11-track debut album ‘Sanctuary’ via Dashville. Originating in Hunter Valley, Australia, singer-songwriter Matt “Magpie” Johnston unassumingly founded Magpie Diaries as a coping mechanism for the loss of a dear friend, channeling his grief into the band’s signature brand of smooth alternative country music, bolstered by a tinge of folk and psychedelic rock straight out of the 70s. Motivated to continue this musical journey, Johnston set to work on the songs, recording Sanctuary with producer Matt Sherrod (Crowded House, Beck, William Crighton), over the next 3 years. Alongside his own musical endeavours, Magpie hosts a festival in his family property once a year. The festival titled The Gum Ball started over 10 years ago and today brings in crowds from around the world. ‘Sanctuary’ is a laid back mellow collection of tracks that melt gloriously into the ears creating a rich easy listening experience. The tracks swoon and glide about melancholic tones and dreamy vibes. Opening track ‘Beat Myself Up’ creates the swaying calm atmosphere with warm raspy vocals, lush harmonies and bittersweet guitar twangs. The guitar melodies in the tracks creates a sweet euphoric tone throughout the album from pining laments to steamy whines in ‘Irresistable Pie’ – the guitars flood each track with rich and varied characters. The album ranges from the upbeat soulful folky tones of ‘When Love Comes, ’10 Honey’ and ‘Beetroot’ to the tender ‘Strawberries & Cream’ and ‘If You’re Hurting’.When Magpie Diaries wants to lull you into a dreamy melancholic country toned stupor they do it superbly with sweet lyrics, beautiful melodies and soft passionate instrumentation and when they want to add a dash of shimmying vibrancy the shift is seamless and joyous without ruining the easy going mood of the album. The foot tapping infectious ‘Mumma’s Right’ and the delicate emotional ‘This Spring’ show this perfectly. The shift in tone is refreshing yet subtle. ‘Wastin’ Time’ thuds in on a darker tone as a stomping beat backs a sultry bluesy guitar and luring mysterious atmosphere. The brass elements through the album are simply sublime and lace each track with a juicy sultry persona. The raw ‘Don’t Give Up’ closes the album on an emotional vibe as glistening keys twinkle softly between strong guitar chords and lush vocals. It’s a passionate bruised end to the album that hits you hard in the chest and pulls at those heart strings. It’s a comforting track that gives hope and motivation in difficult times.
‘Sanctuary’ blends, churns and glides through a multitude of emotions from sensual, melancholic to cheery effortlessly while creating the perfect relaxed atmosphere to submerge yourself in.
Magpie Diaries will support the release of Sanctuary with 4 shows at the prestigious Woodford Folk Festival over New Years, along with an Australian East Coast tour throughout January – March. More information can be found on their socials here https://www.facebook.com/magpiediaries/
The Ting Tings are back with their fourth studio album ‘The Black Light’. Best known for their massively successful 2009 debut album ‘We Started Nothing’ which boasted the hit singles ‘That’s Not My Name’ and ‘Shut Up & Let Me Go’ the duo have been on a rollercoaster 10-year journey gaining their desired independence. Releasing a further 2 studio albums after their successful debut and adapting their sound to reflect their experiences, the pair were led to their latest work The Black Light, which holds a noticeably darker edge with a mix of Manchester inspired guitar patterns and captivating vocal phrases melded with harsh beats, synths and bass.
‘The Black Light’ is a dark concoction that wriggles and wraps around swirling electronics and alternative pop experimentation. The shadowy riff of ‘Estranged’ twinkles the album into motion. The Ting Tings present their delicate emotional side. Layering their brooding electronics over a melancholic melody this duo build an atmosphere of tension and unease. The haunting dark quality continues with the chilling ‘Earthquake’ and smokey toned ‘Fine & Dandy’.The band shake the album up a bit with ‘Basement’ and ‘Word For This’ whichare reminiscent of The Ting Tings debut album- driving through with buoyant rhythms and exuberant energy to have your feet tapping and head bopping. Filled with attitude and swagger with catchy lyrics and jagged guitars these tracks give a danceable quality to the album and lighten the cloudy atmosphere of the previous tracks.. ‘A & E’ and ‘Blacklight’ push through with an almost trip hop beat slapping against frenzied electronics giving a dazzling club night vibe making for a smooth transition into the upbeat ‘Good Grief’ which features a vibrant guitar riff and shuffle ready beat taking the album to a danceable fun finale.
The Ting Tings ‘The Black Light’ has a decent mix of everything from electronic to attitude soaked alternative rock and punk to bouncy infectious pop. The tracks smoothly flow from one to another making for a satisfying listen.
The Screens have released their debut album ‘Wakes,Weddings & Bar Mitzvahs’. The Screens are a duo made up of Colin Wade (lead vocals) and Neil Watson (things that make noises). Their debut album was born out of sheer frustration of what writers have to do to make money out of music. With an unashamed nod to the sixties, The Screens know exactly what they’re doing as they seduce you with unforgettable melodies whilst selling you the darkest of lyrical scenarios. The Screens have an amazing history of credits and collaborations from film and TV music as well as working with artists that includes Sir Tom Jones, Paul Weller, The Cult, Hue and Cry, Mari Wilson, Tony Hadley, Will Smith through to Kill Bill, The Simpsons, The Sopranos, Lost, Smallville, 24, Mr & Mrs Smith to name a few.
‘Wakes,Weddings & Bar Mitzvahs’ is a spectacularly cinematic album brimming with infectious melodies and gripping musicianship. Each track perfectly sets its scenes through lyrical imagery while the well placed instrumentation paints a vivid backdrop. The melodic flow of the album goes from luscious to sublime as each track progresses. From the honey drizzled ‘Tell Julie To Stay’ with its rushing urgency on piano, the sweetly dramatic drama in ‘Narrow Stairs’ to the buoyant peppy ‘Paradise Road’ The Screens showcase their glorious melody writing with juicy breathtaking instrumental backing. Steady beats mix and weave between jangly guitars and sing along choruses with lush backing vocals and vibrant keys to make each and every note glorious. ‘Avalanche’ brings a lavish swoony element to the albums theatrical collection of tracks. With elegant strings bringing a romantic atmosphere to this sway like gem. The Screens present their tracks in a dynamic and incredibly lavish manner and this song in particular is the pillar of their rich elegant sound and perfectly contrasting lyrical depiction of the bloody heartache and turmoil of love. The vivid vocals caress each song with a velvety smoothness that convey the tracks themes perfectly while soothing and cooing over the sweet melodies. The delicate ’Dangerous Game’, with its sorrowful lone ranger guitar and lush backing vocals has an exotic mournful tone while the danceable ‘Mirrorball’ shimmies and shakes displaying the fun more jazzy side to The Screens. ‘Signore Mazzanto’ is just so thrilling. This track makes you want to dance while filling you with that chilling sense of danger and mystery. It’s almost like you shouldn’t listen and enjoy this vibrant gem for fear of the sinister story but you just can’t help it. I do love this track… that steamy guitar and rich rhythm bubbling under the infectious melody it’s difficult not to wiggle and sing along. ‘Jennifer Jones’ another delightfully mysterious and danger filled track floods with romanticised flamboyance as strings swoop about a strong piano progression and zingy guitar strides. These tracks are bitter sweet with tragic tales of love surrounded by elegant honey drizzled 60’s musicianship to sweep you into a flurry of euphoria. ‘Tell Julie To Stay reprise’ brings a powerful and soulful end to the album. With a rock n’ roll swaggering melody over dynamic vocals and catchy lyrics lasting for only 1 minute and 18 seconds – it’s a vibrant and abrupt end to what is a breathtaking album.
The Screens whisk you up in a dramatic flurry of splendor with their debut album ‘Wakes,Weddings & Bar Mitzvahs’ with rich soft textures, delicious ear-worm melodies, darkly hued undertones, buoyant rhythms and infectious refrains it’s one heck of an emotional ride.
Little Red songwriter Ian Mitchell has released his debut solo album under the nom de guerre Master of None. The eponymous 10 track album takes influence from artists such as Ween, PJ Harvey, Tom Waits and Nick Cave. Although some of these artists also inspire Ian’s Little Red work, these influences are displayed more fiercely on Master of None. However this album doesn’t adhere to one genre, the common thread is the songs’ lyrical darkness, dealing explicitly with alcoholism, substance abuse, sex, debt, death and mental illness.
From the electronic slapping opening track ‘S.R.I.’ Mitchell takes us on a unique journey into his world which is quite the step away from Little Red’s style. ‘Let’s get fucked up’ and ‘Hunter’s Quarry’ twinkle through with delicate acoustic guitar, or piano for ‘Hunter’s Quarry’ and eerie vocals. His stripped back approach is chilling and quite ominous with some tender tones swirled throughout. It’s an experimental album with a lot of vocal personalities weaving between each track as Mitchell ventures down the Lo-fi avenue with his production. ‘Fluffy Bunnies and Unicorns’ makes good use of sticky electronics and pulsing beats concocting dark atmospheres between the obscure lyrics and spoken vocals. This electronic flow builds and progresses with each track on the album sometimes appearing tribal like in ‘Big Boots’ which also feature a traditional string element giving a Celtic jingle of warmth to the track .’Francis Bacon’s Bae’ and ‘Master of Nones’ are perhaps the most melodic tracks on the album with a waltz like string in the former and an elegant piano feature between trip hop beats and sorrowful vocals featuring in both tracks. The album takes a menacing turn with ‘Prick’. This heavy track is head-bang ready and a bit of a rush. With distorted guitars crashing and slicing through flashing electronics as repetitive lyrics attempt to hypnotize you through spoken vocals. There is a Marilyn Manson feel about ‘Husk’ while ‘The Gallows’ closes the album on a contrasting melancholic, bittersweet tone of delicacy.
It’s an obscure album which blends the eclectic, erratic and often sinister side of Mitchell’s musicianship. From elegant to mind crushing, each track takes you on a unique journey into the dark. With most of the tracks coming in at around the 2 minute mark they are brief haunting encounters filled with mystery, sinister themes and boozy ballads. Fantastic.
BRONCHO have released their new album ‘Bad Behavior’ an infectious swirl of luscious, teasing and exhilaration tracks to keep you drooling for more. It’s a tasty collection of tracks filled with psychedelic indie pop, laid back tones and insanely catchy grooves to ensure a satisfying listen. ‘All Choked Up’ sets the EP in motion with its churning rhythm creating a danceable foundation for the buoyant guitars and smoky melody. The stop start beat establishes an atmosphere of suspense which is only subdued by the shredding slick guitar solo. This track is so sleek and glossy with dark undertones twirling beneath the hypnotic rhythm. The tracks on the album flow into each other with a smooth fluidity,‘Weekend’ continues the heavenly subtly psychedelic trip with ethereal guitars twinkling between a steady backdrop. Ryan Lindsey’s sweet falsetto vocals provide each song with a heavenly quality. The instrumentation is tight throughout- crafted to perfection with glorious guitar twinkles daintly accompanying Lindsey’s vocals and honeyed melody while the strong beat and elastic bass grooves between. ‘Boys Got To Go’ displays this perfectly, the melodic flow guarantees a soothing listening experience as soft guitars glisten playfully throughout before whining elegantly every so often. BRONCHO provide the most glorious comforting blanket with ‘Keep It In Line’. This track enfolds your ears in a candied soothing melody, beautifully weaved instrumentation and sedating vocals. It’s bouncy, bright but incredibly tranquilizing. These guys delicately unwrap their sound revealing lush textures with each track. Together they gel immaculately- each instrument has its part and yet the tunes they produce feel airy and freeing. The album continues to blossom with ‘Sandman’, bringing a slightly ominous tone into this dreamy mix. The guitar and bass in this track is riveting. The song bubbles and boils around the playful guitar as Lindsey creates a haunting atmosphere. It’s a little more gritty with a creepy almost sleazy vibe but an absolutely thrilling listen.’Undercover’ follows the darker tone of its predecessor lightening it with buoyant grooves stomping between a sliding swagger soaked melody and strutting guitars. This is one well crafted track.The subtle guitar changes from twinkling and gliding to prancing as they flood the track with panache and an infectious funk flavoured danceable quality. ‘Family Values’ is another infectious gem that is sure to put a smile on your face. If you can prise your ears away from the bouncy weaving instrumentation and focus on the lyrics BRONCHO showcase their humorous cheeky side,“I got a thing for your mother / I got a thing to teach your father”. One thing I have come to love about the Tulsa, Oklahoma-based band is their sublime ability to create dreamy woozy tunes like ‘Big City Boys’. Though the track is hazy and dreamy the instrumental backing is strong, pushing forward with a relentless goal of fun loving with a slick proficient style that is one to be admired. The summertime cruising ‘Get In My Car’ follows. The album version sounds a little tweaked and more crisp to the single version released last year. This summer time gem bops and wiggles over a smooth melody and gleaming guitars. Glissading over to a glam rock flavour, BRONCHO provide us with a tantalizing variety of genres to taste throughout this album. They close the album in the best possible way, leaving us hungry for more. The swagger steeped foot stomping danceable and infectious ‘Easy Way Out’ accomplishes this task without fail. It’s slick, pristine, panache driven indie rock drizzled in rock n’ roll flamboyance with nimble steamy guitar licks and a catchy melodic flow to keep us wanting to dance all night long.
BRONCHO is that band that are cool, fun and make you want to scream and tell everyone about. Their sound is appealing to everyone from the lazy daydreamer to the adrenaline punk-rocker and indie-head in between. The provocative lyrics, incredible musicianship and all out swaggering groovy persona within each track is what makes BRONCHO one heck of a band. The sound is distinctive, Lindsey’s vocals are distinctive and their tunes undeniably infectious. It’s music to make you feel, music to make you dance and bop or tap your foot and do air drums to while you relax on a lazy summer’s day, but either way you feel every delightful note.
Clint Wilson is set to release his new album ‘Dark Water’ on the 3rd of October. Drawing influence from the likes of Johnny Cash and Paul Kelly, Alt Country artist Clint Wilson delivers a heartfelt and beguiling experience with his newest album release ‘Dark Water’.Driven by a wish to transpose the context surrounding real life into his music, ‘Dark Water’ is injected with a feeling of authenticity that in turn makes it easily relatable. Backed by the superlative production work of Callum Barter, Dark Water provides a series of distinct conversational stories whilst remaining a captivating listening experience.
‘Dark Water’ submerges you in lush alternative country with peppy warm tones flowing over soft percussion and dynamic vocals. ‘Dream You Were Leaving’, ‘The River Spoke To Me’, (which was co written with Kelly Brouhaha and tells a tale of lost youth) and ‘Nothin’ To Lose’ gently introduce us to Wilson’s sound with lonesome guitar twangs and steady drum thuds. He meanders through heart warming and joyous uplifting tones while using his instrumental backdrop to lament and strike our very soul.The melodious ‘Odd Socks’, ‘Fifteen Years‘ and ‘Thin Line’ showcases the brighter side to Wilson’s sound. A zesty guitar hops and springs through a buoyant beat and lush backing vocals while Wilson coos throughout with a lively harmonica feature in ‘Thin Line’ blasting glorious rays of sunshine into the album. Using soft blues toned acoustic guitar over strong back beat grooves Wilson charms and soothes his way into your ears. From the steam train pace of ‘If I Die Before I’m Twenty’ to the western- esque ‘Three Nights In El Paso’ Wilson displays his versatile songwriting- telling gripping stories all the way through these dynamic tunes. Wilson knows exactly where to place every instrument and melody- this is perfectly shown through ‘Get Out Of The Wind’. Those lush backing vocals spread over beautiful guitar pines make for an enthralling listening experience with the perfect sway along backdrop to lull you into a stupor. ‘I Saw The Lightning’ closes the album encompassing all the gems of the previous tracks with dark tones haunting between deep vocals and immaculate harmonies.
Clint Wilson shows his depth and meticulous musicianship through ‘Dark Water’ to create a beguiling alternative country collection of tracks.
Minnie Micros is set to release a new album ‘Neutrois’ on 7th September. The debut album, Neutrois is about a fashionably late, coming out story with themes inspired by various personalities including queens and performers that she has met and admires. The journey for this project began only a year ago when deciding to bring visual art into her music as well as cleverly mixing guitar and electronics. The album takes us back to her childhood days of playing around with soundscapes and melodic tunes however in a more sophisticated, poetic way. She tells us her personal story of how she has always felt different to now becoming a confident, non binary – gender non conforming person. Minnie Micros recorded, mixed and mastered the album with various London and Californian producers and engineers including, Margo Broom- Goat girl, Paul of Sound – HMLTD, Jason Testasecca – Hearthlights.
‘Neutrois’ is a dizzying blast of 80’s & 90’s electronic post-punk blended and mangled between elements of techno club kid culture. From the trippy mind dissolving opening track ‘Unicorn Boy’ with its psychedelic soundscapes, flashing swirls of mouth frothing allusions while Minnie Micros’ vocals coo over this bewildering entrapment it becomes apparent this is a unique album that is pretty frenzied. From intoxicating drum grooves and twinkling guitars entwining between darkly hued tones and mystifying soundscapes with some grimy punk thrown in, tracks like ‘Sky’, ‘Soft Lights’ ‘Reasons’ ‘I Think You Know’ and ‘Love Is Over’ chill to the core with enticing hair raising electronics seeping between eerie vocals and suffocating beats as 80’s soundscapes braid their way between these biting anthems. It’s an intense album filled with acute energy and creepy moments all wrapped in a tight bundle of instrumentally chilling finesse. The fuzzed frenzy alone in ‘Nice’ will crush your mind with its acid bath of electronics crashing off a gloopy beat while the vocals hypnotise and daze your very soul. Minnie Micros mixes some varied genres into her unique mind mashing concoction as ‘Destroy’ brings some hard core mania to the album with mosh ready punchy drums whacking through hyper guitar strides and fierce wandering keys while ‘I Could Be Myself’ contrasts this dramatically. It’s more gentle on the ears giving you a breather with lush harmonies and feathery light instrumentation over delicate melodies. ‘Velvet Black’ closes the album encompassing the swagger and attitude of its predecessors. As strong vocals soar over heavy beat whacks and a punk rock tinged electronically knitted backdrop. ‘Neutrois’ is an intense album that fizzes and whacks with Minnie Micros own brand of electronic punk rock that will leave you in seizures of ecstasy.
You can catch Minnie Micros at The Victoria Dalston London on September 7th ahead of the release of Neutrois on 7th September.
Finally Miles Kane has released his highly anticipated ‘Coup De Grace’ album to enrich our ears with his new found sophistication and maturity seamlessly blended among his rock and roll swagger. Appearing more cultured and thought-out this album surpasses 2013’s ‘Don’t Forget Who You Are’ in both refinement and grandeur. It’s a glam, psych and pop- faceted prism of beauty that packs in some groovy elements and punk wallops along the way. Kane has huddled together a team of collaborators for his third album, which includes seven co-writes with Jamie T while Lana Del Rey co-writes on ‘Loaded’ and John Congleton produces.
‘Too Little Too Late’ sets the fiery brisk pace of the album with punk slaps weaving through Kane’s rock n’ roll backbone. The glam rock stomper ‘Cry On My Guitar’, laid back pop sprinkled strutter ‘Loaded’ and snappy glossy ‘Cold Light of the Day’ follow suit adding a new dash of spice with each track as Kane builds his repertoire delicately blending a new genre dimension into his own panache driven branding. Slick, thrilling guitar wails, solos and licks are plentiful and the sultry bass grooves and clap along anthemic choruses exceed all expectations. Kane has found his dynamite team creating an enthralling album with each track cruising into the next with masterful fluidity and fantastic musicianship that makes every song lovable. The dreamy brooding ‘Killing the Joke’ cools the intensity a little as Kane belts out a hard hitting emotional performance to a sway worthy background. The synth element adds a delicate ethereal quality to this tender number as lamenting guitars wander about pining behind an emotional vocal delivery and steady drum thuds. Kane’s knack for melodies has always been apparent and this album is no different- he slides those glorious honey drizzled melodies into our ears leaving us craving for more as they seep into our brains sweetly caressing and soothing their way inside our minds. ‘Killing the Joke’ displays the sweet tender lovable melody while the funky flex that is title track ‘Coup De Grace’ fleshes out his swanky, chic melody. This 70’s – esque Disco Stu jam returns the albums pace to high voltage fun. With slinky guitars and an elastic bass line driving the track into a strutting frenzy – this hook filled gem is timeless and magnetising. The album speed balls into the shouty attitude driven ‘Silverscreen’ before another delicious high powered melodic number, ‘The Wrong Side of Life’ erupts where Kane exclaims over a jagged drum and guitar combination. It’s passionate and quite expressive vocally while the keys wisp and float around a striking backdrop. ‘Something to Rely On’ draws on the raw vigor of the beginning tracks with shredding sharp guitars stinging between punchy drums and an anthemic chorus. ‘Shavambacu’ closes the album with a finger clicking sleekness that creeps in from somewhere dark in the 60’s lurking between chilling and romantic. The chorus breaks up the eerie vibe with a bopping beat and vibrant sweet melody over delicious little flickers on guitar. It’s honest with a ballroom Foxtrot- esque spring in its step, over a sing along simple melody to have you doing a little shuffle to yourself as Kane sings out the album.
‘Coup De Grace’ glosses and polishes over the cheeky rock n’ roll bravado we know Kane for, with some refined sophisticated flurries sprinkled over a raw and edgy foundation. He packs in a healthy dose of wonderful melodies, sweet and tender moments with some good old fashioned fun and danceable numbers which he swirls into his delectable brew.
Oxford and Reading’s Indie-folk outfit, Little Red have released their new album ‘Draw Blood’.Featuring the singles ‘Siren Song’, ‘Diamond Back’ and ‘Woebegone’, Draw Blood features nine tracks, written and recorded by the band. A fuller and more realised document of their sound than 2014’s well-received ‘Sticks and Stones’, Draw Blood features eight full-band tracks and one intimate trio recording, ‘Lay’. New member Marc Challans (formerly of AMP) has made a big impact on the band’s new sound, not only by adding heavier drums and percussion to the record, but also by sharing co-producer roles with Ben Gosling and Tom Hodges (Club Soda). Three of the tracks, ‘Black Dog’, ‘Chapters’ and ‘Huntsmen’, have been re-recorded with the new live line-up, to bring listeners up-to-date with where Little Red are now. Influenced by artists such as Colter Wall, Tom Mcrae and Tom Waits, the band has embraced Folk, Southern Gothic and Americana to help create this record.
The album gravitates around a folk sound with rich rhythmic slaps and pulses bringing a grittier more punchy texture to each of the tracks. It’s easy to listen to as each track flows fluidly into one another with subtle genre shifts weaving between their indie folk outfit. ‘Siren Song’ introduces their sound with eerie dark guitar strides between a trudging drum beat and sweet luscious vocals from Hayley Bell. The vocal rounds make for a truly engaging listen and the blend of male and female vocals is refreshing and sublime. I quite like the ghostly mysteries of this track as it’s crafted simply with each component piece carefully placed for maximum spine chilling effect while the soothing vocals ease your mind from the creeping guitar line. ‘Black Dog’ and ‘Chapters’takes on their buoyant Americana hued style as twangy guitars bounce along the rich sprightly rhythm while the glorious vocals coo and vibrantly harmonise through the punchy tracks with the latter having a organ-like element throughout the chorus. ‘Diamond Back’ brings us a nice clap along feature while ‘The Quiet Ones’ returns to that dark tone with a western-esque stand off at sun down lonesome vibe. These guys know how to tell a story and they portray the emotion and imagery perfectly through their music and this track and ‘The River’ is a prime example of that. ‘The Huntsmen’ follows their immaculate storytelling with the delicate instrumentation of acoustic guitar and soft drums before it bursts into a swayable blissfully folky instrumental that is perfect for old medieval grand halls and large crowds dancing with tankards of beer. ‘Lay’ is the only acoustic track on the album. Bell’s vocals sweetly coo over warm guitar twinkles. It’s a delicate number filled with emotion and tender tones.Very mellow and calming it’s the most soothing track on the album.The lusciously rhythmic ‘Woebegone’ closes the album with vibrant tones and marvelous harmonies. This track rhythmically is my favourite as it is rich rumbly and dynamically elevating. It’s one to get your blood pumping and your feet tapping.
‘Draw Blood’ is a tight album that showcase’s Little Red’s intricate musicianship and compact layering to create a satisfying hair raising collecting of tracks.
Stream ‘Draw Blood’ below
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.