After releasing three successful back to back singles in April and the single ‘Family’ on May 26th, 21-year-old rapper RUNOFFBROKE (Jordan Wilson) has released yet another catchy, slick track entitled ‘Wish you Knew’. RUNOFFBROKE started writing music at 11, and by 13 was playing gigs and signed to underground label Mic-A-Blaze Records. Jordan worked with multiple Irish groups before making his way to Germany to work with Citizen Soldier Entertainment. He has toured in the US and Germany, supporting artists like Infidelix alongside Papke. After two years in Berlin, Jordan returned to Ireland in 2019 and has since been working on new music, gigging, and building his team. Known for his dark humour and haunting music videos, he has released an EP and several singles.
‘Wish you Knew’ is a chill and precise dancehall/house track that displays RUNOFFBROKE’s slinky rich sound through well thought out grooves and melodies. With spacey synths glimmering between afrobeats and deep rhythmic flows it’s a liquid smooth tune that merges house and R&B pop with wispy crisp electronics. RUNOFFBROKE flexes his signature quick rhymes and clever lyrics which explore the cyclical nature of toxicity in relationships. The track ferments bubbles and pivots around catchy body grooving hooks and ethereal cold soundscapes. The vocals coo over a rich tapestry of beats by FEEL.FACTORY (aka NINETY7HERTZ) creating an enticing backdrop for the listener to indulge in. ‘Wish you Knew’ is an interesting and fresh listening experience by RUNOFFBROKE
Our Worth A Listen Track This Week Comes From The Post Romantics
The Post Romantics have released their new single ‘bad friend’ via DEADBOY$CLUB. Self-produced under lockdown at the band’s home in Liverpool, the track showcases the band in their purest form. The Post Romantics is formed of brothers Connor Cockbain, Cameron Cockbain and Liam Cockbain along with their childhood friend, Sam Barton. Championed by BBC Radio 6 Music and BBC Introducing, last year saw the band cut their teeth supporting the likes of Wolf Alice and Larkins, selling out headline shows in Liverpool and London. 2020 sees the band follow up this release, embark on their now rescheduled UK tour and perform at Liverpool Sound City and Hit The North Festival.
Warped in a deadly concoction of haunting electronics and mysterious production, ‘bad friend’ sees The Post Romantics continue their sublime dark aesthetic where contemporary R&B rubs elbows with moody twisted emo pop. The track is an anti-love letter to the liars, users and other fake friends. Following the tale of two people who got too close for their own good, ‘Bad Friend’ offers an honest insight into the world of toxic relationships.
With heavy sticky beats slapping between an asphyxiating soundscape the track swirls in a mysterious and ominous atmosphere while the emotive smooth vocals melt over the punchy bubbling backdrop and vaporous electronics. The reverb laced backing vocals create an ethereal breezy tone to the track that provides a breath of air between the tracks muggy compression. With elements of The Weeknd within the songs production ‘bad friend’ has a crisp and polished coating with coiling and twisting undertones creating the tracks underbelly.
With labyrinthine hooks nourished between sultry production and gritty heavy beats, The Post Romantics are harnessing their sound, becoming bigger and better with each release.
About the track lead singer, Connor says : “I wrote this song after I realised that people are snakes.Relationships are complicated and people catch feelings and shit, I get it, but, be honest about it at least. Don’t play games. People say one thing but mean another and, eventually, when they don’t get what they want, they’ll turn around and bite you. Maybe I’m just a sucker for people who want to f*ck my life up…”
Our Worth A Listen Track This Week Comes From SG Lewis
Songwriter, producer and multi-instrumentalist SG Lewis has recently released the official video for his brand new single ‘Chemicals’ via PMR/VirginEMI.The psychedelic video was shot at home during lockdown by SG using a green screen and directed by Yousef and produced by Jake Parker for Prettybird. The song has already accumulated over 3 million streams since release and is the first track to be released from SG’s eagerly anticipated debut album, with more details to be announced soon.
Saturated in soaring soundscapes, intricate funk grooves and euphoric melodies, ‘Chemicals’ is a laid back disco hued gem. The track spins into motion with shimmering synths exuding a cool refreshing atmosphere as the zesty guitar flexes and swirling electronics create a chilled sonic drive. With a strutting hook, sweet melody and retro disco underbelly the track wraps your ears in a luscious coating of candy floss bliss while the chic 70’s – esque bubbly foundation keeps your feet tapping. ‘Chemicals’ effortlessly displays SG Lewis’ rich, first rate production and musicianship while his velvety falsetto cools the electric funk humidity of the track. There are elements of Daft Punk and influences of soul glimmering through the track making this relaxed summer-splashed tune an enjoyable listen.
Jon Wilkes, formerly the drummer in The Red Jumpsuit Apparatus has released his new single ‘Burn’ under the name KOU, his new musical revolution. Wilkes was a key member of The Red Jumpsuit Apparatus, recording albums with hit producers such as David Bendeth (Paramore, Papa Roach, Underoath), Howard Benson (Daughtry, Kelly Clarkson, The All-American Rejects) and John Feldman (Goldfinger, Good Charlotte, The Used). With WILKES on drums, The Red Jumpsuit Apparatus released 3 full-length records: Don’t You Fake It (2006), Lonely Road (2008) and Am I The Enemy (2011).Don’t You Fake It featured the hit single “Face Down” and was certified gold in November 2006 by the RIAA for selling over 500,000 copies and in June 2016 was certified platinum for selling over 1,000,000 copies.
Ignited with passionate and raw alternative rock ‘Burn’ is a wholly immersive and explosive track from KOU. Wilkes uses light twinkling soundscapes to begin the track, swirling airy synths into a flashing beat, creating a delicate intro before erupting into a mammoth outburst of pounding drums and sharp guitars. His powerful vocals express painful emotion as they bellow and coo the heartfelt lyrics.
There is plenty of verve, emotion and instrumental prowess in this track to make it relatable and a feature on every alternative rock playlist. The lyrics depict how cruel humans can be and how hatred can consume everything. Wilkes calls for everyone to revolt against this bitter hate and as he does so the song becomes more intense and animated. With an acute rough wall of sound battering the backdrop with alternative rock,Wilkes portrays the raw unadulterated hatred while using majestic guitars and ethereal synths to create tender delicate moments between the chaos. Lushly intricate and well layered ‘Burn’ is a beautiful fusion of electronic and alternative rock.
About the track and his new project Wilkes said : “KOU Stands for “Kingdom Of Us” and The idea of running a (KOU)coup in defense of our livelihood as humans and anything that holds us back. It’s about following your dreams no matter the cost.“BURN’ is about how as humans we have let hatred and the media consume us for decades and it’s time for a transformation.”
Columbia Mills have released their highly anticipated sophomore album ‘CCTV’. 2019 saw the band release two singles from the album; ‘Strange Game’ and ‘Who Am I Supposed To Talk To Now?’ which garnered huge radio support here at Indie Buddie and in the UK including John Kennedy Radio X, RTE Radio 1, Ed Smith (Today FM) choosing the band as his Play Irish Artist of the week and ‘Recent and Decent’ on Today FM, Dan Hegartys (2FM) Track of The Week, and heavy rotation on Paul Mc Loones Today FM show, as well as heavy airplay across all national and regional radio stations. 2020 has already seen the release of ‘UNDERSTAND’ (31/01/20), the third single from ‘CCTV’ which also received huge radio support.
With passion exuding from each melty, infectious melody, rich rhythmic progression and superb guitar lament ‘CCTV’ is quite the first rate body of work from Columbia Mills. These guys don’t pull punches, they give this album their all, entwining electronic elements into their alternative indie rock to create an album that holds you in animated suspense while the spinning sublime instrumentation, intricate layering and wonderful pacing intoxicate and invade your mind.
From the start this album is a whirlwind. The gripping heartfelt ‘Car Crash TV’ begins our breathtaking journey into the album. To be honest, I was totally consumed within this track’s melancholic tone, soft instrumental build and utterly beautiful, raw presentation. The twinkling ethereal guitars encase Fiachra Treacy’s warm emotive vocals in a wispy delicate coating as the track progresses to its more distorted electronic half. Like a masterful puppeteer Treacy’s vocals control the tone and ambiance of the tracks within this album. He has the power to pull tears from your eyes as he digs beneath the surface and unravels the listeners joy, pain and thrills and it is from here the tracks flourish from.
The band use synths and dizzying electronics to build the songs and ferment them into either a dazing dark crescendo like in ‘Car Crash TV’ or spiral into an intoxicating, dance-evoking whirl as in the infectious pulses of ‘Understand’. The synth elements within each track either flicker with tantalizing illumination providing sweet flirtatious moments between the rich indie backdrop or drape the songs in crashing twisting and asphyxiating soundscapes.
‘Isolate’,‘Who Am I Supposed To Talk To Now?’ and‘The Greatest Love’ are a mesmerising display of artistic flair and proficient musicianship, evoking complex themes and emotions of lonliness, guilt and depression.
The band flood their tracks with emotive instrumentation as they surge smoky downcast atmospheres with lamenting pines or western- esque warm tones on guitar. The guitars soar and ooze rich textures and almost convey the characters within the tracks while braided beneath are rooted bass lines and pulsing drums. ‘You’re Not The Answer’, ‘Strange Game’, ‘Heart And Soul’ and ‘Trees’ convey this perfectly as Columbia Mills immerse striking earnest lyrics in time stopping soundscapes.
The lyrical content in this album is profoundly poetic. Lines like “You said watching you control yourself, Is like watching blood dry”, “Crawled through the shit of old romance” and “Or is it in the vacuum of the struggle Where our love always thrives” shroud the album in dark times and griited struggles. Columbia Mills present these honest and gripping themes with outstanding elegance and grace. At times Treacy’s vocals are icy and almost matter of fact in his portrayal of these lyrics however he still manages to depict heart breaking emotion through his delivery.
Columbia Mills bring the album to a sublime end with ‘Mirror On The Front Seat’. The track blossoms superbly with glistening guitars and a brooding indie rock ballad -esque soundscape. It is beautifully crafted, lush in its intricacies yet simple in its approach. There is a warm country element to this track that evokes images of a dry desert night while the glistening airy guitar paints the sky an indigo hue. The loneliness and isolation is briefly lightened with warm instrumental builds while a sustained fuzz and steady beat trap tension beneath the emotive velvety vocals. Once again the band build the track allowing it to unravel for the dynamic thumping crescendo. It’s a spine tingling and utterly superb finale.
There are so many textures, sounds and wonderful elements within ‘CCTV’. Columbia Mills are only on their second album and their maturity and ability to grasp your very soul with their tunes is so precise and powerful it is mesmerising. ‘CCTV’ is a moving, intoxicating album with solid musicianship. The listener beholds musical majesty, depth and a mystical quality which bewitches with every track. The bands layering and building of the songs is first rate and clean while the indie rock, electronic hybrid sound is seamless and exquisite. This is a band you need to know, they have achieved so much with ‘CCTV’. It is exciting to imagine what Columbia Mills will release next
Paterson has released his new single ‘Should Be Working (On You)’. Previously releasing work as Mike Paterson, he is simplifying his moniker to just Paterson. Paterson writes, records, and produces his own work.
‘Should Be Working (On You)’ scurrys with fuzzy soundscapes as Paterson delves deep into his electronic depths. He uses a sweet pop smacked melody with R&B elements to create a looped hook that sticks like gloopy syrup in the brain while dazzling synths flutter between sticky techno hued beats. The track swirls through tight ethereal soundscapes while the wandering synth and distorted fragments create lush spacy textures. With Paterson’s deep reverb vocals creating a dark undertone between the delicate harmonies, the track has a Moby residue with a Tame Impala- esque flourish through its meticulous intricacies. Paterson creates a unique and experimental track with ‘Should Be Working (On You)’ filled with meandering psych-tinted elements, pop and R&B to create an invigorating and refreshing listening experience.
Paterson will be doing a live takeover of our Facebook and Instagram this Saturday at 8 pm where he will be performing some old and new tunes make sure to check it out.
Watch the video for ‘Should Be Working (On You)’ below
Bone Cult have released their new album ‘Death Electronica’. Starting out as a stripped back guitar and drums outfit, the duo evolved by embracing technology to create new unheard sounds. The band’s popularity has soared internationally following their inclusion as characters in the online videogame ‘Avakin Life’
‘Death Electronica’ is a corrosive collection of tracks as Bone Cult present their powerful and unique sound through this innovative and triumphant album. The duo use driving, animated and sticky beats to create a hyper backbone for their tracks. The fuzzing acid saturated synths swirl through rushing electronics as the band create a dizzying mania reminiscent of The Prodigy through ‘Realise’, ‘Fragments’ and ‘Miracle’ .The heavy thick soundscapes consume the tracks in dark flashing scintillation as the duo create the thrilling atmosphere of a frenzied rave. The instrumentation and static electronic backdrop asphyxiates the frenetic rock elements while the smooth vocals coo underneath. Each track surges with the duo’s hybrid crashing wall of sound as they create songs for the blood thirsty mosh pit as well as coating on a healthy dose of dubstep dance elements.
There is such adrenaline in this album it could give you a heart attack. With all the intense ominous soundscapes Bone Cult manage to pull out some really catchy bangers. ‘Cruel’ has a grungy moody vibe with a pop-ish melody that will stick in your head for days. It’s utterly exhilarating. The album is the perfect concoction, the band swirls wispy new wave lightness into a thick, dark atmosphere with heavy surges of adrenaline to create a sound that has something for everyone. There are pop elements with smooth light twinkles of electronics smeared into thicker more perilous stains of electro- rock while metal slaps and punk whacks adorn the backdrop between the dance influences and to top it all off the band pepper some grunge and alternative rock over this fermenting brew. With the deranged, head-spinning synth of ‘Something Vile’ ,bright ethereal release of ‘ Fever to Stay’ teamed with swirling electronics of ‘Miracle’ and the grating harsh guitars lines that stain the albums underbelly,- ‘Death Electronica’ sees Bone Cult utilise every weapon in their arsenal to create their sonic assault.
‘Death Electronica’ is lean, mean and frothing from the mouth with a vast array of genres. Bone Cult’s fuzzy bulky sound is not for the faint hearted. The album takes the duo’s vast, refined and in ways quite majestic sound and beats you over the head with it. A superb listen.
Brighton three-piece Something Leather is set to release their debut EP ‘Midnight Reverie’, on 17th April.The trio have already gained a reputation for explosive live shows thanks to a host of support slots with up-and-coming bands including Black Midi, Saint Agnes, Sophie and the Giants, Calva Louise and Phobophobes.A triumphant 2019 saw successful UK and European tours establish an increasing following for the band.The year culminated with latest single ‘Lullaby’ garnering further support from BBC 6 Music’s Steve Lamacq.
‘Midnight Reverie’ is a sleek streamlined EP swirled in sultry dark psychedelic tones. Something Leather inject gritty indie rock, opaque pop and ominous atmospheres into ‘Midnight Reverie ‘to create a sublime EP of tremendous magnitude. The production and craftsmanship of this EP is fantastic. The band take their elegant psych rock and mince it into a mirage of dazed pop elements. Each track drags you further into their mesmerising and bewitching sound.
With a sinister flurry of guitars ’Trip To The Sun’ kick starts the EP. Sultry and mind melting the track whirls through dizzying acid dipped electronics while a steady pounding beat and eerie organ – esque elements create that spine chilling backbone. Phillie Etta Jane’s vocals are the sweet hauntingly lulling constant within each track. She creates a soft delicate moment within each song while exuding a sultry panache effortlessly. The dreamy melodies compliment her vocals superbly as they hush and entice you into the harrowing entrapment created by the instrumentation – it’s a bait your ears will willingly take.
The trio write catchy and mystical tunes with a heavy backdrop that is irresistible.’Farewell Fareworse’ has a Sleater-Kinney residue over the distorted electrical mayhem while the prowess on guitars pine and wail with intent over the crashing wall of sound. There is controlled chaos within this EP as the band weave vintage qualities with wild guitars and relentless synths to create their own unique, harrowing yet velvety sleek sound.The noir pop peppered ‘Midnight Dive’ shows a melancholic side to Something Leather. The dreamy whimsical brooding display flows with flashings of black and white west coast images of sulky bliss. This narcotic soothing track drifts with twanging pines on guitar as the track dissolves into multi fragments of laid back moody indie pop. Like all Something Leather songs the track builds to a fizzing crescendo that evaporates your mind. It’s a tragic, beautiful and darkly-shaded pinnacle moment of the EP.
The band return to their seductive and menacing grit for final track ‘Down Another One’. Another stand out number, the drama and intensity of this song is immense. Like daggers, the drums relentlessly pierce and pound while growling backing vocals haunt the backdrop. The jabbing guitars, distorted roars and spine chilling wall of sound create a creepy gut wrenching atmosphere while Phillie Etta Jane’s breathy yet sweet vocals build the tracks momentum. It’s heavy, dark and brilliant.
‘Midnight Reverie’ is a dark concoction of tracks to bask and submerge yourself in. With such murky and sultry cinematic melancholia steeped in elements of psychedelia, indie rock and electronic pop Something Leather have created one first rate body of work. There are distinct moments of brilliance within ‘Midnight Reverie’ that set the bar high making Something Leather one of the most exciting bands around right now.
‘Midnight Reverie’ EP will be released on April 17th until then check out the video for the bands recent single ‘Farewell Fareworse’ below
Dublin electronic rock band Synk have recently released their new single ‘Waiting Room’.The track was written during the transition into Autumn 2019 and was recorded in isolation in Co. Leitrim shortly after itʼs conception and is self-produced by Synk. Synk is comprised of James Lonergan on Vocals, Guitar, Daniel Smith on Guitar, Phil Noone on Drums, Evan Kennedy on Bass, Vocals, Keys and Fergus Grant on Keys, Guitar, Vocals.
Once again Synk entwines and coils sweet lush moments between chaotic bursts to create a satisfying and mystical track. ‘Waiting Room’ twinkles to an airy fresh start as glistening light flurries of guitar trickle behind a warm vocal lilt. The track fluctuates becoming more dark as rich ominous rhythms weave with jittery angst. I love the opulent textures and sounds this band flood their music with – each quiver, beat and pulse is vibrant and emotive expressing something quite beautiful. The ethereal electronics add a mysterious quality and magical wonder element while the beat is the elastic band that releases the whimsical dream-like soundscape into the atmosphere and pulls it back just as effortlessly. With jangly flutters on guitars the band show character with luminous bursts through the darker smudged depths and moody elements.
Synk keep their tracks pulsing and simmering right up to their crescendos which are always exhilarating and ‘Waiting Room’ follows this superbly keeping your ears bound in a mesmerising daze hanging on every bewitching earthy note. The vocals are shared by James Lonergan and Evan Kennedy, with James singing the first half of the song, and the ending coda sung by Kennedy.
‘Waiting Room’ is an intricate rippling mirage, shimmering with the masterful and compelling musicianship of Synk. I love how they convey so much emotion through contrasting sounds with such beauty and balance, it’s quite masterful.
Liverpool singer songwriter Paul Iwan has released his new double single ‘Returning’,the winning song from the songwriting challenge at Threshold Festival 2019.Taking its title from the brief of the challenge, the concept of returning was associated with relapse and regression for Paul Iwan, who has suffered from PTSD. The competition pushed him outside of his usual comfort zone, and into a more acoustic setting and letting the song speak for itself. Iwan is releasing two versions of his new single ‘Returning’, The Red and the Blue version.
‘Returning (Red Version)’ swirls in a dramatic wall of sound as dynamic synths flurry around crashing guitars and a punchy beat. The track is intense as the jagged strikes on guitars create a brawny harshness that contrasts the strident ethereal synths. Quite epic and powerful Iwan makes an impact with this big sounding alternative electronic rock number.
‘Returning (Blue Version)’ strips back the track to more simple arrangement. It is a more delicate version with piano leading the track while the guitars and buoyant beat adorn the backdrop in warm tones. There is more vulnerability and sweetness in this version while the vocals maintain theatrical drama.
Paul Iwan shows us two different aspects of ‘Returning’. Both are equally potent and show his passionate songwriting and musicianship. His powerful alternative electronic sound in the Red version allows the track to blossom and become fierce, conflicting and expressive while the Blue versions delicacy allows the lyrics to hit hard as the tender emotion within the track becomes more apparent. Both versions Red and Blue, together, deftly express the reality and conflict many victims of PTSD live with. ‘Returning’ ( Red/Blue Version ) is a mesmerising display of art and musicianship from Paul Iwan.
Stream both versions of ‘Returning’ below
Author : Danu
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
