The US acoustic-emo project arms&legs released the EP It’s Only Temporary (extended play) on the 24th.
With even deeper sadness than in the LP Mountainousfeatured earlier in the year – the five tracks of It’s Only Temporary (extended play) (available on bandcamp) drift around the room dripping melancholia on the listener with compositions that rely as much on the spaces between the notes as the chords themselves, to create their brooding presence.
My pick of the release, which is also the longest at just over six minutes – the third – Molasses Like has a haunting beauty that captivates attention as the gradually shifting patterns of sound and pace thread through the brain.
Newly out of the blocks with only a couple of tracks to hear, the most recent of which Dreamboat surfaced on the 24th washes through the room in undulating curves of electronic loops from which surge flickers of electro-drums that dance like fairies atop a cake whilst quietly brushed vocal peers through voile.
The Indian indie band Yesterdrive revealed their latest track – Control on the 26th.
It has been over a year since they made available new material and a delight that Yesterdrive have surfaced with new music for those of us who don’t have the opportunity to see them live.
Control contains all the essential elements of their sound with instrumentation and synths blending in to each other, which in this instance they have mixed to produce a distinctly Scandi-indie dance driven number.
The US melodic-hop creator Matt Tha Outlaw released the LP Lawless on the 25th.
Matt Tha Outlaw – Lawless – reverse side artwork
While reflective of the barriers in reaching out of grinding poverty Matt Tha Lawless contemplates of routes to make life a better place in which to exist. Not merely aiming to swagger of opulence he is discursive of the the mantra of ‘greed is good’, positing, there is more to an existence based on how fat the bank balance and whilst railing against a system that pours scorn on those of the 99%. He equally grapples with his own internal arguments of how wealth is a judgement of value whilst tentatively offering an alternative vision.
Given the genre where to boast of fiscal wealth is ‘normality’ and many other musicians of other styles of music who rage against inequality, yet, still play the same ‘monetary values’ game – it is refreshing to discover a hip-hop artist who takes an approach of parallax and delivers a diatribe which is also driven by melodic construct.