Columbia Mills have released their new single ‘Heart of a Nation’. ‘Heart of a Nation’ is the title track and first single from the band’s third album scheduled for release in September this year. Described by John Kennedy (Radio X) as Ireland’s answer to The National, Columbia Mills are regulars at festivals such as Indiependence, Longitude, and Electric Picnic and have supported world-class acts like Ride, Public Service Broadcasting, and Palace. On top of this, they have also toured Ireland & the UK with a string of headline shows at venues such as Whelans, King Tuts, and Sebright Arms.
‘Heart of a Nation’ is a thrilling new song from Columbia Mills. Dealing with dark themes, in particular Ireland’s housing crisis the band highlight failures in our society. Fiachra Treacy’s vocals croon moving lyrics and drive home the songs stark lyrical content “A mother in a hotel raising her kids she’s not on holiday how did it end up this way …….sleeping in a Garda station, living in the heart of a first world nation”.
‘Heart of a Nation’ is a wonderfully expressive piece of music. The band create a soundscape filled with lush instrumentation, dark undertones and dazzling moments of evocative musicianship through the use of chiming guitars, bass rumbles and beautiful key arrangements that deftly convey coiling emotion, innocence, and anger.
The enthralling sound of Columbia Mills is one to be admired. Each of the band’s releases are a joy to listen to again and again. ‘Heart of a Nation’ is an excellent display of Columbia Mills’ masterful use of instrumentation, sonic finesse and eloquent songwriting.
Speaking about ‘Heart of a Nation’ lead singer Fiachra Treacy said: “Heart of a Nation” documents the housing crisis in Ireland, with each verse tackling a different aspect of the problem. From a mother sleeping with her children in a Garda station to the crooked businessmen and politicians that have caused the housing crisis in Ireland. Heart of a Nation peels back the political rhetoric and looks at the real people affected when the ruling class looks out for themselves.”
Manchester’s Cultures have released their new single ‘Ghost’. Bridging the gap between alt-rock and indie pop, Greater Manchester’s Cultures have been plying their trade across the region for the last four years, and their intelligent and idiosyncratic brand of indie has been turning heads and picking up traction ever since.
‘Ghost’ perfectlydisplays the engaging indie rock sound of Cultures. The track pulses with dynamic synths that rush around a buoyant beat while warm guitar sizzles in the background. There is a beautiful blend of tension and powerful release within this animated tune between the twinkling guitar and punchy snap on drums. Smooth vocals caress a dreamy melody while the swirling uplifting backdrop bubbles and rushes with adrenaline over a rumbling passionate bassline. Cultures have created a tight and mature sound to tantalise listeners with and it gets better with each release. Looking forward to hearing more from this band.
About the track, frontman Josh Spivey said, “For us in the band, the song has come to represent a huge number of different feelings and concepts as it’s developed. The lyrics “you never needed someone to take you home” refer to coming to realise that you are more capable of being independent than you knew and in “she never saw you as skin and bones” I try to tackle the idea of how people’s perceptions of each other can be completely different from our own ideas of ourselves. I think we have a habit of assuming that people think the worst of us when people are actually really good when given the chance.”
Originating from the town of Portlaoise, Chris Conroy has released his debut single ‘Dive’. Conroy presents his passionate and melodically rich musicianship with this single. As a debut it is quite the mature songwriting display. With warm guitar accompaniment the track begins light and breezy as cheery guitar strums bounce behind Conroy’s velvety vocals while wispy soundscapes lead the track into its invigorating chorus. Conroy creates a dynamic pop track with ‘Dive’ which ventures sonically into R&B tones with skittish beats fluttering between strong piano chords and climatic electronics. The song builds in intensity with heavier hip hop elements while the sweet lyrics talk about the excitement and nerves at the start of a relationship. ‘Dive’ is a sublime debut from Chris Conroy.
Jack West has released his new single ‘The Last Arcade’.15 year old Jack West has already performed with grunge icon Eddie Vedder before 30,000 at a festival in Nashville as well as collaborated with renowned Seattle producer Barrett Jones ( Nirvana, Foo Fighters, Jawbox) at his famed Laundry Room Studio on West’s debut eight song offering ‘For The Record’.
‘The Last Arcade’ takes a step away from West’s rock n’ roll style and ventures down a psychedelic-tinged rabbit hole into more 80’s synth pop/ rock. West’s smooth vocals coo and drift softly over the melty melody with breezy tones and feathey lightness as he creates a cool and chilled atmosphere through tightly layered musicianship. Weaving synths and wispy soundscapes encase the track while a steady beat and sprightly retro synth refrain brood in the backdrop. The bubbly keys and cheery buoyancy of the track contrasts the breezy tone of West’s voice and lush harmonies superbly. ‘The Last Arcade’ is a well crafted delight on the ears.
Jack West is developing his style and sound superbly. He has already shown he can rock out like the best of them but ‘The Last Arcade’ glimmers with a rich timeless capacity. West takes his time to groove and slide with precision utilizing synths and 80’s pop rock with a retro jazzy piano tone to flesh out his unique and ambitious sound. You can expect great things to happen for this budding young artist.
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
Following on from their recent, critically-acclaimed comeback single ‘Tombstone’, Irish four-piece Otherkin have released their new single ‘All That Remains Won’t Be the Same’. The single (as with Tombstone’) comes from the same sessions in Brighton with Chemical Brothers producer Steve Dub, and Jolyon Thomas (Royal Blood, Slaves) on mix duties
‘All That Remains Won’t Be the Same’ brings a crunching cinematic feel to Otherkin’s sound. The track is tightly wound as intense anthemic synths add a determined edge and 80’s sheen.This track gallops in on hefty drum thuds while the lone ranger guitars whine over the feisty backdrop. With its dark theatrical approach, triumphant synths, and all out epic tone ‘All That Remains Won’t Be the Same’ is a shift in the four pieces’ sound that makes Otherkin an important band to keep an eye on. These guys pack a lot of emotion and character through the guitars as they glimmer, pine and shrill through the ominous hued soundscapes. The track injects a hefty dose of mosh ready aggro and instrumental battering however the band cleverly weave this through their refined and compelling lyrical content. Another impressive and invigorating track from Otherkin.
Speaking on the track, frontman Luke Reilly states: “The lyrics were written at the end of 2017 as the horror stories emerged of everyday abuse and sexism perpetrated by men of power in all walks of life. The song is a rejection of anyone who feels they can behave that way and the title itself is a declaration for change, a statement that these vile actions have no place in society today.”
RAFFER has released the first single from his upcoming self-titled EP ‘The Media’. This self-produced piece lyrically explores the falsehood today’s media sell to the general public. RAFFER – aka. Callum Rafferty is the DIY indie-pop artist/producer from Kent who has spent the past year supporting some household indie names including King No-One, The Academic and Airways.
‘The Media’ is a fizzy mix of sun-blasted synths,zingy guitars and delicious pop smacked melodies. Brimming with infectious guitar hooks this vibrant delight, toe taps its way through buoyant bass lines, rich rhythms and sparkling electronics. Snappy and sprightly it frolics its way around you brain seeping that honey drizzled melody into your easy until you are dancing and singing along. Not only is this track saturated in sun soaked vibes RAFFER blasts a scorching guitar solo in for good measure to firmly press that sun tan glow into your skin.
You can catch RAFFER live at
25th Jan – Guildford Electric Theatre 9th Mar – Edinburgh Sneaky Pete’s 10th Mar – Glasgow Broadcast 30th Mar – Sheffield Café Totem 31st Mar – Nottingham TBC + Many more dates to be announced.
Bristol garage rock band The Rupees have released their new single ‘Terror Lover’. Ryan Tucker (Vocals, Guitar) ,Seamus Daley Dee (Drums), Jacob Chambers (Synths) and Tom Phillips (Bass) make up the four piece and their music has already been showcased on BBC Radio 1 (Huw Stephens), BBC Radio 6 (Steve Lamacq), and Sky TV and have played Reading Festival, supporting bands such as Blossoms and The Growlers and selling out their own headline shows.
‘Terror Lover’ displays The Rupees blustery synth driven sound at its dazzling grizzly best. With distortion galore and a punchy backdrop immersed in searing guitars this track is mighty and mesmerising. The all encompassing light flashy synths weave their mind dissolving soundscapes around this animated number. Its catchy and dance floor ready as disco vibes swarm the track in glistening bedazzlement while snarling vocals snap out the infectious lyrics. Brimming in intense rock energy these guys blend their blinding synth rock meticulously to have you compelled to dance mindlessly to its thundering upbeat thrill.
Mini Mansions have released their highly anticipated EP ‘Works Every Time’. Singer/guitarist Michael Shuman, singer/keyboardist Tyler Parkford, and bassist Zach Dawes are the glorious trinity of Mini Mansions, a band who push boundaries and overwhelm our minds with psychedelic encryption and delicious tunes. The band have played in some of the world’s biggest rock bands, Queens of The Stone Age, Arctic Monkeys and The Last Shadow Puppets these guys have been flourishing right at the roots of the rock genre readying themselves and fermenting their sound.This new release arrives three years after their second record, ‘The Great Pretenders’, which received critical praise and featured guest appearances from Arctic Monkeys frontman Alex Turner and The Beach Boys’ Brian Wilson and ‘Flashbacks’ a collection of B-side tracks which was released in 2016. Mini Mansions sound is unique and stirring all at once and places them firmly on par if not above their comrades in intricate obscurity and just plain genius. ‘Works Every Time’ is only a glimpse of what these guys are capable of.
‘Works Every Time’ is a concise, flavoursome collection of juicy tracks to re-introduce us to the mouth watering home cooking of Mini Mansions. Title track ‘Works Every Time’ reels us in with a soft beat bouncing off a swoon worthy melody and glistening keys.Filled with wistful tones Parkford takes the vocals on this track, his sweet falsetto cooing over the breathtaking soundscapes as this song floats around a dreamy ethereal atmosphere while the zesty sting on guitars give a lamenting bite and sharpness to the track. ‘Midnight in Tokyo’ rumbles through with Dawes’ elastic bass line teamed with the sticky slapping beats setting the groove infested foundation as the track spirals into a sleazy swagger smacked number. With Prince like Bowie -esque hued verses and a triumphant catchy chorus this track struts in, slicked back, funk fueled and glossy. Shuman’s vocals take the lime light here drenched in panache and gritty rough flamboyance as flashing disco hued electronics dazzle the background while Parkford provides lush tight harmonies. The rich meaty sound is filled gloriously with zingy guitars weaving their way, flickering little bursts of spice throughout. Parkford takes vocals once again on ’This Bullet’ a psychedelic whirl of utter mind melting mania. He ventures to his ominous lower range while Dawes’ throbbing bass and meandering soundscapes rush you with a sinister sense of danger. This track has a residue of Mister Goodnite’s ‘One Against Five’ with a little more darkness and obscurity smeared on top as alien- esque electronics wail about eerie tones and snappy driving beats. There is something magnetic and hypnotic about this track as Mini Mansions distort and dissolve your entire grip of reality with one catchy dizzying tune. It’s dark and creepy especially when Parkford orders “take off your vest“ however it’s difficult to prise yourself away from its chilling charm. Of course the band offer up another stirring cover for us to devour. Having previously embellished our ears with Blondie’s ‘Heart of Glass’ and Sparks ‘Sherlock Holmes’ Mini Mansions dissect and dismember a thrillingly dark rendition of Edwyn Collins‘ ‘A Girl Like You’, dousing it in the gritty sleazy and intoxicating tones we love from this trio. It’s dark as Shuman howls, screams and deeply haunts over whining guitars and flashing electronics. Filled with infectious shimmy grooves this track will make your skin crawl and tantalize all your senses while creeping into your mind where it will firmly reside for days. They did a cover the only way Mini Mansions can … better than the original.
The talent of this band is immense. Each track was meticulously cultivated – simmering and ripening slowly in Mini Mansions pressure cooker until the band were ready to delight and shatter our ears all at once. It’s exciting to see what each release will bring. They never compromise their sound yet push boundaries and provide an enthralling full bodied sound with every release. There is no one else like Mini Mansions out there at the moment. We need this trio to keep music fresh.
Our Worth A Listen Track This Week Comes From Pale Rivers
Pale Rivers have released their new single ‘Icefield’, ahead of their forthcoming debut EP. Produced by Owen Lewis and Steven Mullan, ‘Icefield’ was recorded at Herbert Place Studio’s, Dublin. Based out of Cork and Tipperary, Ireland, the band began playing their first shows around the country including slots at Hard Working Class Heroes, Whelans One’s To Watch and Electric Picnic, as well as some high profile supports for acts such as Teleman, British Sea Power and The Wedding Present.
‘Icefield’ is a deeply moving number bleeding haunting tones of yearning through ethereal rushes of breezy synths over textured guitar whines and passionate heart gripping vocals. This is a special track that grips the listener with every flickering note. This band keep you on the edge of your seat – the delicate sweet and tender moments are perfect, immaculate and pristine as elegant keys twinkle and glisten between subtle synth wisps as the warm emotional vocals caress the darkly hued haunting melody. Intimacy is key to this track and this is created by those dynamic tender vocal tones which are embellished by soaring, undulating waves of guitar and weaving synths. The track builds becoming more intense and expressive carrying and elevating our hearts and emotions with it as the synths become frenzied and choppy and rush over the tumbling guitar and rippling drum/bass rumbles. This track swoons with deeply moving and atmospheric tones while a rich snappy rhythm holds all the vaporous floaty soundscapes together with a gloopy-like glue texture. It’s a sublime riveting listen and a well crafted gem to hold dear.
Talking about ‘Icefield’, the band explain – “recording this song was very much a case of going with gut feeling rather than planning it out and ticking boxes. Going in to do it we just had a skeleton track and from there, it was very much a case of experimenting and improvising on different instruments, many of which we hadn’t used before. Recording this definitely felt like a journey from start to finish, and in many way’s one of the most fun/difficult but rewarding experiences we’ve had in a studio…”
You Can Catch Pale Rivers live at :
August 5th – Indiependence
August 24th – The Roundy – Cork
Stream ‘Icefield’ below
Indie: (n) an obscure form of rock which you only learn about from someone slightly more hip than yourself.
