Happy New Year to all our followers and subscribers. We have enjoyed finding new artists and music this year and we look forward to listening to the tunes 2020 has to bring. Thank you to all who have donated to the blog keeping us caffeinated all year round and the PR Companies, Tour Managers, Managers and artists who have worked with us all year. We have created a playlist on Spotify with all the artists we have featured this year so you can have a listen while you toast in the new year.
We sat down with Chris Breheny aka Moncrieff in the cosy Library Bar in The Central Hotel Dublin. With the fire glowing, warming the room with its radiance Breheny discussed all – from how he creates his tunes to the events that have brought about his new EP ‘The Early Hurts’.
“Does anyone actually make it to 12 pubs though really?” Breheny inquired as we sat down with our coffee. The very Irish, 12 pubs of Christmas is a boggling conundrum as we wonder does everyone just give up after a few pubs and settle in one just to avoid the hassle of downing one pint and rushing off to another pub. “ I have squinty eyes in the morning” he announces as we take a few pictures “I can’t really see in the morning”. He proceeds to ask me about the blog “Is this your baby”. As I explain the origins of Indie Buddie, I realise I appear to be the interviewee rather than interviewer. His fascination on how bands, artists and media outlets begin becomes apparent as he describes how the Moncrieff moniker was born.
“I had moved to London, 5 years ago with no musical experience really. I was in a band for like a year with my mates before that. It was a Waterford band and we just played covers in our parents sitting rooms, but I became super obsessed with it.I was like I want to go to London. I had no idea what I was doing.I was speaking to one friend who had experience with music in London and he said go to the open mics. I ended up going to one in Shoreditch. It was crazy mobbed I think the BBC were down there filming that evening and all the best people had turned out and I thought oh Jesus Christ! All throughout the night I thought I’m not cut out for this shit.”
After being skipped past on the list Breheny gathers himself to give it a go and asks can he go onstage.
“I was going to sing a cover and ended up singing a song I had written before, about my brother and sister who had passed away.At least that would be real because I was nowhere near the skills of these people but at least it’s from the heart. A guy came up to me after. A guy called William Scott Moncrieff and he was this punter dude.This early 30’s, banker guy, nothing to do with music. He bought me a beer and we ended up having a chat. A lot of our stories had parallels – he’d lost a brother when he was young and he grew up in London and didn’t really have anyone and he just got it. Its hard to describe. Its like something the universe gives you that little thing and you can’t describe why. But you’re very sure that’s what you have to do.It’s so obvious. We left it at that he gave me some money for my taxi home because there was no buses at that time, but I left and the feeling I had after that was sweet lets go, and that was 5 years ago and I liked his name Moncrieff. “
He laughed in astonishment at the fact that there is someone out there that made such an important impact on his life and has no idea as Breheny never met the guy again. With such powerful and soulful vocals you would be forgiven for assuming Breheny always sounded so amazing. However he assures me this was not the case.
“I wouldn’t even dare show you videos of me singing before I moved to London. Jesus Christ !” he laughs. “ I wasn’t great, I mean I could do a bit. Me and my brother used to sing in the little school choir. A little church, country choir when we were like 8 and then I went to secondary school and you have to cut out the singing because singing is social suicide. Come on, in Waterford you don’t sing down there, if you want to do music the only opportunity is to do musicals or be in the school choir and those where both social suicide and all you want to do is fit in. So I stopped singing until I found a Ray Charles CD and I had never heard somebody sing like that. So I mimicked that, really badly, for a long time and I guess that’s where it came from”
Moving to London was the push that Breheny needed
“ I needed to learn so much In such a short space of time and… it was outside my comfort zone. I feel like I love Ireland so much but life would have been too comfortable for me. I would have had all my friends in Dublin, my girlfriend back home, sports and everything and all these distractions. If you really want to get real with what you want to do and achieve you have to get real with the amount of work that you need to put in. I didn’t even know where to start. Let alone what I needed to do. Dublin wouldn’t have worked, I needed to go somewhere that forced me to have nothing to do but music.”
Life in school for Breheny was a mixed bag. The image of a young man trying to find a medium between the things he loved and surviving school life was a task.
“ I never sang properly again until I was 18. It’s crazy I used to get bullied because I played hurling, like waterford minor. I wasn’t ever amazing I was always the lad who was fourth sub, third sub but always really trying hard to really get on the team, ” he laughs. “Just because I loved it but everyone on the team knew that I did some musicals and someone would see your face in the back of the paper somewhere and you would get the piss ripped out of you. Musicals were great growing up because obviously there was more girls than boys doing them and it would be constant flirting for like three weeks”
Breheny’s style of music is self described on his social media as “neo-noir soul”. His sound combines a mix of both classic gritty blues and modern urban pop influences. He is constantly developing and changing his sound with each track he releases delving deep into his repertoire of emotive melodies and gripping soundscapes.
“ I don’t think I came up with the sound. I feel like we are the generation who grew up and have listened to Spotify and stuff. So you are exposed to so many different genres. I could show you the last 10 songs I listened to and they are all completely different genres. My stuff is just an amalgamation of everything of what I am influenced by. My voice is soulful and I won’t be able to get away from that but everything else I just take it as it comes. Whatever I think is a good song.”
As well as working as a recording artist in his own right, Breheny has also worked with some of the world’s biggest artists, perhaps most notably as a backing vocalist for Adele.
“ yes that was a very mad couple of days.I came up super randomly from a friend of mine, he’s a drummer and he played with a lot of bigger pop acts. I was on a ferry back from Fishguard to Rosslare and he sent me a text and I was on one bar of signal just leaving the port in the middle of Wales and I sent a message back saying yeah and I just got the two ticks.It was mad though such a cool experience.I learned a lot about how the whole production was set up, how many people were involved and all the preparation that goes into it.It was such an eye opening experience. She was amazing.Her voice was incredible. “
The new EP ‘The Early Hurts’ is a summary of all the most significant people, places and events that happened to Breheny from moving to London until the age of 22.
“ I wanted to frame that part of my development. It’s a collection of stories.”
Its an emotional EP and a very powerful expression of Breheny as an artist.
“Haha! I’m an emotional guy. I think the best songs are when you hit a vibe, you connect with something, the lyrics then come really quickly. A lot of the time with my songs I’ll probably spend two days writing the song, but if you put a camera in there or a stopwatch on the moments of inspiration they would probably add up to like two hours max over like 20 hours because other times you are just out of it and you are not connected to whatever is going to come through you.Lyrics, they come in shoots. I will be fumbling around for ages and then in an instant I will have a verse and then I will be back to hitting against a wall with absolutely no hope for another hour and then something will happen. You have to just stick in there.”
A stand out track on the EP is ‘Villains’. It has a bluesy sultry tone with a Rag’n’Bone Man vibe and apparently is the flagship track of a bunch of songs like this. He also gives us a sneaky insight into one particular track ‘Serial Killer’
“ I had come out of a really weird relationship with this girl.She was just a bit mad, There is a song called Serial Killer that I wrote about her and then I bought in to this idea of you can do whatever the fuck you want in relationships and getting into bad habits and not caring in a bad way and thinking that was cool. Villains is cool I really like the vibe of it.I really want to do a video of it. There is going to be more songs down the line with that vibe.”
A very cheery and charming chap Breheny laughs and banters his way through our interview with an honest and joyful approach. I couldn’t help but notice the contrast between his intense performances and his fun-filled attitude outside of his performances – especially his performance of Selena Gomez’s ‘Lose You To Love Me’ on RTE2FM.
“Yeah it’s so funny I can’t help it. It is what it is. I remember looking back at it and I knew the recording was good and I didn’t think it was bad but I had a feeling that people were going to see these ridiculous faces that I pull and be like oh what’s this lad up to. I’ve been trying to carve what I do on a stage or when I do a live song and it just feels forced so whatever, it is what it is.It has to be sincere”
On the topic of advice for other artists Breheny feels pressure to leave some words of wisdom.
“ Oh I should prepare for this. I would say… don’t ever define yourself as your vision of the past.You should make an active choice to define yourself by your vision of yourself in the future and literally do that as in say I see myself doing this .. whatever future me is going to do… so what does present me have to do to get there. We all do this about the past. You can actively choose to go forward and that will define who you are.Life is so short you should go do what you want to do.If you do it enough and enjoy it, it never feels like wasted time.You will eventually become good at it and when you are good at it someone will pay you for it.Have faith in yourself and don’t care what other people think.It’s easier said than done but you have to be true to yourself.”
Moncrieff has a show in The Academy, Dublin: Thursday 16th April, 2020. He has been in the studio in Brighton finishing off six tracks for next year.
“ These tracks are where I’m at now. Its going to be very different. I’m thinking ah no,, people in Ireland are just starting to really enjoy the EP and I’m just going to give them this.” He winces “ we will see, but I’m really looking forward to it” ….. so are we.
We sat down to have a chat with Josh Jenkinson , Eli Hewson, Robert Keating and Ryan McMahon from Inhaler before their sold out shows in The Button Factory Dublin. We talked about how they form their tracks, the pressure on bands and artists now and what advice they would give new artists based on their experience.
Electric Shore have released their new single ‘Breathe’. Electric Shore are a three piece alternative rock band from Ratoath Co. Meath. The band was formed in 2012 and have had the pleasure of playing a host of headline gigs that have had an overwhelming amount of support.
‘Breathe’ blends Electric Shore’s emotive musicianship with authentic gripping indie rock to create a spine tingling passionate number. With ethereal guitars twinkling and glistening through a wispy wholesome soundscape the track maintains the bands sophisticated style as they create an icy atmosphere and lonely tone throughout. The song documents the collapse of a fractured relationship, one which cannot be salvaged. A solitary, lamenting space is created between the shimmering prismatic instrumentation as the lyrics describe the struggles of this one sided love story. The track drifts sweetly through a melancholic melody as it builds becoming more powerful leading to the compelling crescendo. With a punchy beat, elegant mournful bass line and passionate vocals this tender track boasts Electric Shores mature and deeply moving songwriting. They have crafted a tight and brooding number with refined skill.
Security move the eager front line back from the stage as the crowd in The Button Factory, Dublin gush about how many times they have seen new risers Inhaler and why “these guys are the best band out there at the moment”. There is a varied fan base for these young rock stars, a healthy crowd of all ages throng the venue to see what Inhaler have in store for their second sold out night. Many had seen them the night before, some traveled from the UK and farther afield to see the Dublin quartet. One fan in particular told me she had seen them the previous week in London and had tickets to see them again two more times in the UK next year. There is a buzz about Inhaler that is the envy of many artists on the circuit. They have even been long-listed for BBC Music Sound of 2020. I thought to myself, could this fresh faced quartet live up to the hype and deliver a great live show? Well …yes, actually they can deliver… with oodles of swagger and explosive onstage persona. The Button Factory witnessed something special Thursday night – a budding band which is destined to go far.
But first we are treated to one of the most impressive support slots of the year. Kilkenny’s The Wha embrace with ease the task of warming up the crowd. The band provide tantalizing tunes laced in psychedelic indie bliss with dreamy, moody, melodic undertones. ‘Innocents’ introduced the crowd to their melodically lush sound. The band’s modest stance and simple stage presence make them instantly charming however their musical prowess is not to be underestimated. These guys are a talented bunch of musicians. They had more control over our swaying bodies than we did. The Wha’s songs will make you bop and move before you even realise you want to. Bassist Marek Lech and drummer Abe G. Harris provide a solid, driving groove that is impeccably elastic and malleable. ‘Blue For You’, ‘40 Odd Years’ and ‘She Won’t Believe Her Eyes’ all exude wonderful hazy melodies with heavy blasts. The refined, precise guitar melodies executed ever so coolly by dual vocalists Finn Cusack and Sam Cullen had the crowd in the palm of their hands.
These guys are prime quality indie and sure to skyrocket due to their clever musicianship and delicious melodies. They are cool, competent musicians. The Wha are a band you need to know and listen to.
Inhaler triumphantly take to the stage to a mass of cheers. The rock ‘n’ roll band’s lively energy distinguishes their live performance from other acts. They are inimitable onstage, each members larger than life persona oozed confidence and skill beyond their years.
The band blast full speed into their set. Another proficient bassist, Robert Keating provides the infectious groove throughout their tracks with an effortless attitude. His serious stance charms some members of the audience to gush about his stern smoulder while his sublime and intricate bass lines impress the masses. The quartet have the crowd eating out of the palm of their hands from the get go. Everyone wanted a picture/ video of this young band in action. Ryan McMahon tackles the drums, raised on a drum riser his hair flops in time with the rapid powerful beat. His rhythmic thumping commands the crowd to dance. The bands sound is blazing as they weave psychedelic hues into their pummeling rock ‘n’ roll. “This one is the slow one so if you wanna go take a piss do that now” frontman Eli Hewson announces before the sultry ‘A Night On The Floor’. Quite the dynamic frontman he prances about the stage each flick, strut and pose praised with whoops from the crowd. Hewson’s charming personality is infectious. He moves to the front of the stage, reaching out to fans while executing a sweet little shuffle/wiggle with his feet. He holds everyone’s attention while his warm rasped vocals drape over the bands pop-drizzled melodies with a velvety croon.
‘Ice Cream Sundae’ ignites one of the most excitable reactions from the crowd as they bellow back the lyrics wholeheartedly and lovingly. It’s a non stop party. ‘Falling In’ continues the kinetic energy with its scorching rush of intensity and swagger. This band have an impressive first rate lineup of musicians. Josh Jenkinson is one class act guitarist. He meanders beautifully through intricate, lush guitar lines. His adept skill is majestic and a joy to watch.
It’s easy to see why Inhaler have an audience ranging from all ages. From the clapping stomp of ‘My King Will Be Kind’ to the glistening ‘Cheer Up Baby’ the band seamlessly drift through multi tones and genres providing something everyone can enjoy. ‘My Honest Face’ closes the bands set with the crowd going absolutely crazy. It’s a dark enigmatic track laced in explosive, thrilling and glorious instrumentation. No one wants Inhaler’s set to end. However the band don’t appear to stand on ceremony and they leave the stage with a bow.
Inhaler are a slick, well primed machine that are cultivating their sound and brand superbly. They are creating something truly captivating and relevant. It is easy to realise what all the hype is about and how they have garnered such a loyal adoring fanbase. They are an act to get excited about. They are mesmerising to watch onstage and with such a great sound, if they keep doing what they are doing these proficient musicians will be very big indeed.
Following the release of enthralling single ‘Plastic’, Lacuna Bloome return with new single ‘My Girl Is A Supernova’. The single is the second installment to the band’s forthcoming EP, due early next year. The reveal of the single also comes with the announcement of the band’s biggest headline show to date, and their first in over a year, in their hometown of Brighton at Komedia on 24th February 2020 with Lout Promotions.
Utterly absorbing and sweet ‘My Girl Is A Supernova’ showcases Lacuna Bloome’s ability to create blossoming indie gems wrapped in tender moments and rich lush textures. The delicate twinkling intro builds softly as the band gently craft the song, allowing it to cultivate into an invigorating indie number. With a dreamy melody caressed by warm sweet vocals the track drifts beautifully into the ears with a feathery, romantic elegance. The jangly guitars weave and glisten throughout as the punchy drums maintain the buoyant foundation. With a shredding guitar solo and soaring anthemic crescendo Lacuna Bloome have created a refined and ethereal track with an indie bite.
Evoking feelings of euphoria in their love confessing anthem, the band reveal that in actual fact, the real nature of the song didn’t go all to plan. Written about his girlfriend at the time, Niall jests “I ended up showing her the song the day before she left me. Not being one to usually write such intimate songs, it might be a while before I try that one again.”
Dublin based three piece noisy post pop band Nerves have released their new single ‘Glasshouse’. This biting track showcases the bands adept ability to create tense explosive soundscapes with frenetic destructive undertones. The refined competence to which Nerves’ display this skill is something to be admired. Sharp raw guitars relentlessly rip and slice through the thick agitated atmosphere while the bass chaotically slaps and rumbles with fiery endurance throughout. Building to a massive chorus and frenzied crescendo aggressive vocals spit venom and disgust against a harsh, dizzying soundscape dripping in distortion and acid. It’s complete anarchy crammed into a rapid four minute track. Utterly savage and thrilling this dark fizzing concoction is a sublime assault on the senses by Nerves.
About the track the band said : “Lyrically the song is an outcry against toxic masculinity and its effects on young Irish men and brings up various themes such as fatherhood, Irish education, our drinking culture and religion.”
Bio: Suave Martyrs are a Manchester indie-psych band with a funk twist. They have supported the likes of Alan McGee’s Alias Kid and played in venues such as Leeds’ Headrow House and Sheffield’s O2 Academy. Their first headline show sold out in less than 24-hours before the band moved on to bigger venues such as Night People and now Academy 3.
Track: Gimme a Reason
Why We Like It: It’s a funky strutting number drenched in swagger and rock ‘n’ roll panache. An infectious stomping rhythm, slinky guitars and driving bass create a catchy track that fizzes and erupts with psych hues and indie charm. With charismatic vocals and a powerful dizzying wall of sound ‘Gimme a Reason’ is an exhilarating blast of Suave Martyrs cool swanky musicianship.
Bio: Founded in Reading, England, Handstand Parade are an exciting Alt/Indie-Pop Band.Their debut EP “Mourning Youth” which was recorded by producer Michael Smith (Wolf Alice, Honey Lung, Third Lung, Faers) garnered support from BBC Introducing leading to multiple BBC Introducing interviews and slots at BBC Events. Following this success the band released their single “Beloved” and have had the privilege of having all their tracks played by BBC Introducing.They also have had air time on Radio X and BBC Radio 6.
Track: Pushing Up The Daisies
Why We Like It: It’s a jangly surge of indie pop with an effervescent backdrop and lovable infectious melody that will revolve in your head for days. With a buoyant beat, radiant buzzing guitars and vibrant bass, the track bounces along with a refreshing zing and fruity sweetness. Smooth vocals caress the melty candy floss melody while the sprightly soundscape wisps and swooshes around. ‘Pushing Up The Daisies’ is a power shot of youthful adrenaline from Handstand Parade.
Bio: Birmingham artist Rookes is known for her charismatic and commanding stage presence. New Lovers is taken from her EP ‘The Liminal’ which is flooded with the tension and ecstasy of Rookes’ own love stories, spreading across a two-year period.
Track: New Lovers
Why We Like It: It’s a tightly weaved track. Intense in its delivery the track asphyxiates with thick pulsing beats and smoky electronics while rooted guitar entwines and compresses throughout. Rookes’ vocals are the ethereal, refreshing breath of air in the track as she coos with rich depths and sweet tones. She creates a feathery lightness through her clean and mesmerising vocals as the track meanders through tender emotions and sultry undertones. ‘New Lovers’ is a powerful display from Rookes.
Bio: Canadian 19 year old Johnny Brousseau has released a new rock and roll album under the band name “the coywolves”
Track: See The Way
Why We Like It: With sleek guitar melodies exuding steamy vapour this track showcases Brousseau’s gritty rock ‘n’ roll musicianship. The drums and raspy vocals coat the track in a rough punchy dynamic as Brousseau allows his refined guitar prowess bend and mold the track into a raw, rock-filled delight. With an attitude- driven persona ‘See The Way’ is a fantastic display from Brousseau.
Bio: London band Ten Fé have released their new single ‘Candidate’ the track follows on from their sophomore album ‘Future Perfect, Present Tense’, which was released earlier this year.
Track: Candidate
Why We Like It: It’s a glorious easy listening number filled with the passionate heartfelt musicianship we have come to love from Ten Fé. The infectious rhythmic bounce and sweet dreamy melody drifts and elegantly floats into the ears with ease as the velvety warm vocals soothe and caress with a charming tranquil tone. With sublime zest-stricken guitar melodies the band illuminate and radiate this hazy song with sun kissed scintillation.These guys have a knack for creating beautiful wholesome melodies and undertones throughout their tracks and ‘Candidate’ is a wonderful example of this. Once again Ten Fé warm the cockles of our hearts with another charming beauty.
Devoted fans is something every band and artist dreams of. The sort of fans that have tattoos of the band’s logo, know every word to their songs, discuss who their favourite band member is before the show and queue in the cold to see them. This is the devotion that Dublin’s Fangclub have garnered. I heard compelling arguments for why Steven King, Kevin Keane and Dara Coleman are the best as the eager fans stood waiting to enter the Button Factory on Friday night for Fangclub’s headline show. The fans dissected their favourite tracks from the bands EP’s and albums while discussing the amount of times they have seen the trio. The crowd were sure the show was going to be one to remember….. it was.
Derry three piece pop rock band Cherym kick started the night. A feisty trio the band blast out their fierce tunes with relentless stamina. With a crashing wall of sound saturated in gritty riffs, fiery bass lines and pounding drums provided by Alannagh Doherty – it’s a speedy neck snapping set. Hannah Richardson howls and spits out the lyrics with attitude as she struts back and forth on stage. There isn’t a lot of banter from this trio they allow their brawling riffs and pulverising lean mean wall of sound do the talking for them. The pop sensibilities smoothen the razor sharp assault the trio execute so precisely. Members of the crowd mosh and jump to each tune while others are singing along to the lyrics.A threat to do an Irish dance on stage and a “wee prayer” causes cheers from the crowd while a witty asthma quip and “wake the f*ck up do we look like we do Irish dancing” remark creates a humorous tune-up distraction before the band speedball into new single ‘Abigail’. There is something compelling about this trio. Their tunes exude gut-punching punk rock with a pop smattering melody that drifts effortlessly into the ears. Bassist Nyree Porter is extremely charismatic on stage as she engages playfully with the crowd sparking clap-alongs and even jumps off the stage to allow the audience to strum the bass. They made quite an impression.
With Led Zeppelin’s ‘Immigrant Song’ blasting through the speakers while a smoky red hue glows onstage Fangclub triumphantly stroll on stage to a mass of cheering. A band who are honest, raw and incredibly talented these guys don’t hold anything back. The setlist travels at full speed as the band pack in as many tracks as they can with high fives, fist bumps and hand shakes from the crowd in between. “Go on Stevo” members of the crowd shout as Steven King (his face buried in a mass of hair) explodes into ‘Vulture Culture’. The pit erupts immediately, as the crowd once again fall under the bands spell. ‘All Fall Down’ truly grabbed the crowd by the throat as a riot of drums, bass and shrilling roar on guitars thrill the moshing fans to the core. Kevin Keane swishes, jumps and executes his raging bass lines with rampant vigor. There is one track in particular where his finesse excels, ‘ Hesitations ‘. The demon summoning bass rumble resounds throughout the venue as King’s spine chilling vocals entice and seduce against this riveting wall of sound. Dara Coleman resides on a raised platform, shrouded in an enigmatic cloud of dry ice. He pummels through the crunching, ferocious and downright dominant drum rolls and rhythms with precision and relentless stamina while members of the crowd try to air drum along . The trio are joined onstage by guitarist Ed Scanlan who provided those slick licks, riffs and rich guitar melodies that pepper the bands tracks in swagger and spice.He has his own fans in the crowd who shout “go on Ed” and “love you Ed”.
“Everyone ready for Christmas?” King asks before he introduces the blistering ‘Kingdumb’. Members of the crowd reply with a half cheer/half moan while another shouts “Hail Satan!”
The show is a special moment for both the band and their fans. An almost solo performance of the note to King’s girlfriend ‘Last Time’ leaves King in tears as he tries to finish the song. His fingers shake as he forms the chords on the fret-board. He coo’s the tender lyrics with nothing but guitar accompaniment. The crowd cheer in support as Coleman and Keane return to the stage embracing him before the expressive and emotional crescendo. It’s a striking reminder of all this band have been through, almost calling it a day before the ‘Vulture Culture’ album and the stress and emotional turmoil they have been through. It made me realise just how lucky we were to be there that night watching them perform their largest Dublin headline to date. King thanks his family, friends and fans for helping him get through everything. Most people don’t think of the person beneath the larger than life rock-star persona but that glimmer into frontman King’s emotional mindset at the time made all the difference and earned more respect and love from adoring fans. Refusing to allow that tender moment define the night King turns to face the drums, wipes his eye and rebounds with the searing ‘Bad Words’…. the crowd goes insane. The band leave the stage as King lip sinks to Whitney Houston’s ‘I Will Always Love You’ while the crowd bellow back the lyrics dramatically sprawling their arms out to him before Coleman, Keane and Scanlan carry King off stage to the resounding sound of the crowd’s cheering.
It was a fantastic show of sweat, adrenaline, massive tunes and tears as Fangclub were welcomed home by their adoring, never faltering fans. Fangclub are getting bigger and better. They have grown into accomplished proficient musicians. They shattered through The Button Factory in style with unbridled energy, graciousness and a performance that their fans will never forget. Their riot-inducing sound is hypnotic and encourages anyone within ear shot to begin head banging and moshing. I believe one fan from the crowd summed up the nights antics well – as he left the venue he said to his friend ” my neck is fucked”.
Our Worth A Listen Track This Week Comes From Bright Orange Spectacle
Bright Orange Spectacle have released their new single ‘I Struggle to Communicate’. The north-London four piece comprised of Charlie Sinclair, George LePage, Kyle Torode and Darcy Calton, burst onto the scene early 2019 with their first single ‘She Could Do Better’. They have have two successful sold out London shows with fans and taste-makers alike eagerly awaiting new material. The self-proclaimed ‘millennium glam’ rockers have been self-producing their tracks since the get-go – taking their DIY ethos from the bedroom to the stage.
‘I Struggle to Communicate’ is a light stomping of precise indie as Bright Orange Spectacle smear a dash of glam rock into their swagger steeped sound. With confident gritty guitar riffs the band announce the track with a raw edge and charming flamboyance. The punchy rhythm shuffles its way through with foot tapping relentless stamina while the smooth catchy melody and charismatic vocals buoyantly dance and cruise along the bubbling backdrop. The band layer the track superbly to create joyful cheery moments of shimmering key hops and pop sensibilities with a Bright Orange Spectacle twist to create a satisfying finger-clicking good number to immerse yourself in.
On creating the track Charlie added: “We live in a time where everyone has to be a social commentator. It’s not necessarily a bad thing but it leads to a certain amount of pressure for bands to make very grand political statements from day one. I kept sitting down to write that song and eventually this came out.It’s just a lot of honesty about my own lack of understanding towards our correct cultural climate. We live in a time where information is so readily available, yet I still feel like I know nothing. Things are bad, obviously things are bad, but that’s about all I know-and that’s fucking depressing. So ‘I Struggle To Communicate’ is just a reaction to my own ignorance and a personal call to arms for me to better facilitate myself with knowledge.”
Stream ‘I Struggle to Communicate’ below
Author : Danu
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
