Alexandre Antonio and Roberto Filippi make up the duo that is ScoutSom. They have recently released their latest album titled ‘Shamash’.
‘Shamash’ is a fizzing collection of tracks rich in body and laced in acid soaked techno. Melding retro sounds with contemporary and some trance elements ScoutSom have created an impressive riveting sound. ‘Rosemont’ and ‘Namour’ are beat heavy tracks that gloop, slap and swivel over a sticky drum pattern and pulsing electronics.The keys weave around the gripping techno daze as each track lures you deeper into ScoutSoms captivating sound. It’s chilled but bass heavy to create a cool effortless groove and chic sonic flow. ScoutSom know how to create swanky chopped danceable tracks. Smothered in dark tones ‘Karlmarxstraße’ is one eerie dazzling electronic number. Choppy beats fluctuate through ominous keys as the track builds in intensity and pressure. These guys create spacey dizzying tracks to melt and boggle your mind. ‘Rathaus Neukölln’ is how this duo bring the album to a close. With flashing electronics snapping beats and tightly weaved musicianship it’s the most animated on the EP. If mind liquefying richly textured techno is your thing then check out ScoutSom.
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.
Alternative artist Mog Stanley has released his long awaited album titled, ‘Twisted Pop Music’. Mog Stanley has been writing music for many years, with his earliest release dating back to 2011. Throughout his career he has given captivating live performances in music festivals across the globe, such as Riba Rocks in Catalunya and Zine Blues Festival in France. Not only this, he has also played support slots for the likes of Danny & the Champion of the World, Guy Davis and Evan Dando.
‘Twisted Pop Music’ is a juicy collection of tracks that ooze Mog Stanley’s pure organic and rich musicianship. He drizzles a healthy dose of everything on this delicious album from steamy bluesy tones, rock n’ roll swagger swirling between psychedelic spirals and some luscious pop sprinkles for good measure. ‘Double Drop’ kicks the album off with a vaporous guitar melody whining with its blues infested tones through a meaty beat while Stanley’s lo fi vocals coo in the background. The chilling atmosphere thrillingly rebounds off the refined instrumentation to make for a satisfying rich sound. It’s one heck of an introduction into the album. Each track is a fresh new slice of what Stanley can do ‘Kevin’ fleshes out the panache driven shivering-ly suave rock n’ roll flavour as Stanley wails and murmurs through shredding guitars and punchy drums while ‘Birthday Card’,‘Your House Doesn’t Have any Windows’ creep through with chilling vocals, eerie guitar and spooky soundscapes and ‘Scribblings of a MadMan’ struts through with a haunting funky vibe. ‘Japanese Toilet’ sounds like a rough demo as his vocals seem further away than the glistening warm guitar, however it adds character to the album. A lot of the tracks are short and sweet ‘56 BluesStyle Blues’ comes in at a short fifty eight seconds while .’I Want Something that You’ve Got’, ‘MadMan’ and ‘3:1 Alienation Blues’ spread their tasty ear drooling concoction to a little over one minute and a half. There are glorious powerful melodies throughout the album ‘Find a Happy Place then Leave’ and ‘Wait’ pack delicious melty melodies into your ears effortlessly as jangly guitars and a sprightly beat create the perfect sun kissed dreamy atmosphere to lose yourself in. ‘Hoosegow’ throws some western -esque vibes into the mix before building into a syrupy pop number. The tender ballad comes in the form of ‘Straight Down the Middle’ with soft acoustic guitars and lush vocals over a melancholic melody. Each track takes on a different character and dimension without sounding scattered or detached. They blend perfectly to make the album wholly enthralling and unique. There is an 80’s pop vibe surrounding ‘Parasite Idea Zone Corp’ – it has a Pet Shop Boys feel while still maintaining its own dark disco flecked identity. Stanley brings the album to a close with the warm foot tapping ‘Don’t Believe a Word they Say’ and the acid soaked frazzlement that is ‘Dentist Waiting Room Blues’. This track shimmies out the album dripping in swagger as shredding guitars weave their sultry way between a vibrant beat that is sure to have you up and dancing. It’s 60’s esque with psychedelic tones swirled into obscure vocal whispers- leaving you in a mesmerised daze of Mog Stanley’s creation.
‘Twisted Pop Music’ is exactly what it implies – a trippy, twisted delicious concoction of sweet moments, dizzying delusions and dance-able gems.
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.
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.