The Italian indie-groove project Ellis Cloud released the LP Born In The 20’s on the 17th.
A ten track album which runs for roughly thirty two minutes and throughout its duration the listener can’t help other than join in with the beats whilst smiling broadly as Ellis Cloud delivers music to start the party. Of more import this is music in which the listener can glean both physical exertion and mental exercise as the one thing it isn’t is wallpaper paste.
Comprehensively written tracks are curled by complexities of instrumentation, changing pace and a expressive vocal in which the cerebrum can alight as well as the limbs; lungs and heart.
My selection being the ska booted, seventh and title track Born In The 20’s.
The English sardonic hip-hop creator InderPaul Sandhu released the single Money Ain’t A Thing on the 16th.
Reworking an age old adage that chasing coins for the sake of disporting how many coins one owns doesn’t not make for much else than a shallow shell of moral corruption and ultimately a wasted life.
Whilst not particularly taking a swipe at the 1%, the song evokes that a wealthy life comes from pursuing an inbuilt burning desire and for some, though not of import, fiat currency does follow too – in an uplifting and ultimately optimistic composition.
The English glitch-hop quintet Rosen revealed their latest track within the past couple of hours.
Scything through the vicissitude of the late ’10s where to ignore those with whom one is in physical connection to eschew them for the far greater importance of pixelated and binary code of internet connection is deemed as normality and far more ‘interactive’.
Merely by title alone – High Tech Low Life – Rosen are able to elucidate their anger, which they are able to transpose to a satirical, rather than vehement, commentary with a pulsing bass flooding through the room as the snarling vocal snaps at the heels whilst the guitar rasps through the ears meanwhile the drum-kit jars the jaw, rounded by the synth which protests that codecs are really the most appropriate.
The French fulminating-rock trio PLYMOUTH FURY released the EP テープ (Tape) on the 13th.
Fuzzy passages press against the inside of the speakers desperate to escape in to the room resulting a soundtrack that minds of a swarm of angry hornets buzzing around and the only thing to do with an angry swarm is to be entranced by the intricacy of the furious bodies and so it is with PLYMOUTH FURY. Prior to approaching the play button ensure everything is a loud as it is able and stand back for the assault.
These are a trio of highly capable musicians, as, whilst they are able to maintain within the four tracks on テープ (available on bandcamp) an intensity of pressure they are equally able to to deliver a mesmerising clarity of construct leaving the audience merely able to gawp in admiration as the inescapable flight of barbs pierce the skin. The penultimate track Melted being my pick of the release.
The US alt-rockers herMajesty release the two track single I Saw The Dog on vinyl on the 2nd of November and digitally on the 8th.
herMajesty – I Saw The Dog – vinyl test pressing
A couple of years since last featured it is appropriate to refresh the mind.
I Saw The Dog is a timeless track which takes in a disparate set of influences which have a richness of analogue warmth to them that allows each element to shine in its own channel affording the song an intricate weave of texturing which is almost tangible as it floats through the room. The evocative guitars snake around the supple vocal whilst a quietly drifting synthesis creates hazy extensions through which the drum-kit, that maximises the available skins, develops a hypnotic focus off its own and the pulsing bass rounds out the composition as it provides the anchoring and solidity to the erstwhile ethereal soundtrack.
Whilst the digital version is able to capture some of the warmth, I would posit the physical release will do more justice.