From Cape Town in South Africa surface the new-wave trio Greg Allan, Arabella and Anro Femurs who form The Medicine Dolls.
The Medicine Dolls
The bleeding edges of guitar spill out of the speakers prior to bass bursting open the sub-woofers whilst sparky drum-kit bounces around the room from which a signature vocal parades as the trio teases that volume is turned ever louder.
Delivering the sounds of frustration in a world of askew relationships The Medicine Dolls reflect of unrequited connectivity from the standpoint of – If Only This Then That and the reality of IFTTT automated devices where the theory all sounds good but the actuality is less than satisfying, which they slurry out of the speakers in satisfying retort and a trio I look forward to hearing much more of in short order.
Formerly the quartet – The Nasty Narcotics and now slimmed back to the trio to announce their continuation as an entity – they released their début three track single Loose Change on the 18th.
Khwezi is an electro-dance producer from South Africa.
A new track to surface in the past few hours – Living Life At The Mall – discovers Khwezi in insular moment with a contemporary glance out of the lift, which when I come back with a fuller feature will put this into context.
The South African psychedelic-indie band The Plastics were introduced in late 2014.
The Plastics – In Threes – artwork
A live version of the sixth track of the nine on the LP In Threes – All I Really Want was recently captured in London (England).
Glittering guitars light up the room in a version of All I Really Want that is played slightly more slowly than on the album (which is available on bandcamp), as the vocal lays filtered through echoing voile whilst drums and bass register changes in tempo.
An email languishing in my inbox since last month has seen John Mcginto release a further two tracks, such is his mine of creativity, the most recent of which is the four and two-thirds minutes Woe Woe Woe which permeates the room with dank moss as the looping swagger of the guitar is punctuated by malevolent bass and a percussion that clings to the walls in abandoned angularity.
John doesn’t seek to make the life of the audience comfortable as the maths-rock instrumentation filtrates from regions unbidden, enveloping the listener in a damp cloak of misery.
I look forward to hearing more of John Mcginto and his societal commentary during 2016.
The Plastics from Cape Town in South Africa is the Indie quartet of Pascal Righini, Karl Rohloff, Sasha Righini and Emile Van Dango.
A melting-pot of metamorphic rock hewn with seams of gold to purify emerge, on hitting play, with The Plastics. Underneath the glistening tabula rasa which serves a radio audience, lay considered compositions when you take the time to excavate.
Conglomerations of screeching chord change, which you well know serve as an arbiter for me, are subsumed with smartly pressed programmed beats. It is the polarisation of the bland pop pre-programming with flashes of earthy grittiness that fascinates me about The Plastics and while much of the material can be by-passed with nary a nod, it is when you find the nuggets that makes taking the time to mine the out-put far more than a futile trawl.
With no doubt I would wish for more material that was of intrinsic value, but perhaps for the very vagaries of out-put that The Plastics becomes a band of some fascination.
As always, if I didn’t think they were worth exploring I wouldn’t ask you to spend the time with The Plastics. Once they have set a keel for musical intent then it will be time to take a retrospective, unsurprisingly I hope they loose the pre-ordained – here is a hit beat – with more of the – here is what we think, time will tell.