The Dirty Lies is a dark-rock band originally from Scotland and now based in Leeds, England, comprising Hamish Wickham, Tom Howell, Fred Lyth and Zander Mavor.
The Dirty Lies
The darkly subdued sounds of The Dirty Lies float around the room in a contemplative mood as the quartet combine instrumentation and synthetics to deliver music laden with atmosphere.
The band, through the heavy soak of the out-put, give the tracks an almost tangible feel and you find yourself reaching out for chords as they stream past. The Dirty Lies have finely balanced the down-beat nature of the material with music that you want to live for, rather than die to and the more you hear, the more you want to go on hearing.
By pronouncing the lower register of notes with a hazed vocal, the six string guitar is a stunning contrast, flickering its way through the pieces as-though a moth dancing to a light, whilst, the percussion ticks like the metronome of life. This is music to hear in a darkened room with no other distractions.
Their six track EP Release was made available on the 18th along with, quite appropriately for the music, a limited run of cassettes – through bandcamp.
Once heard not likely to be forgotten, The Dirty Lies is, a band who I would like to hear much more of and hope that the new EP will afford them the far wider audience they deserve.
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Joya from London in England is the retro-rock band of Robert Sotelo, Dan Akerman and Ivan Mendiola.
Very new on the landscape Joya makes for a fascinating conundrum of continuum. Whilst discernibly of the past they are equally of the future. I see many bands who describe themselves as ‘post or proto – rock / punk / goth / metal etc.’ each as pretentious as the previous and does anyone know what any of those ‘proto-this /post-that’ genre definitions mean? These guys don’t try to hide their roots which spill like a sliced gut across the floor, and the entrails they eviscerate are of some fascination.
Smartly strung guitars twang their tight contusions, whilst a slapping bass excoriates the nether regions of the room whilst a snared percussion echoes the footsteps and around it all flights a vocal as Joya update sounds of the ’60s to a highly relevant space. There is an easy accessibility dating back to the foot-rungs of the ladders of pop-rock which the trio invest with the 21st Century.
A début EP appeared a couple of months ago, just days after all their social media spaces arrived, the appropriately named Primo. Joya to my mind have put most of the foundations in place and more importantly can compose music which engages, I wish them all the best with their career.
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Oliver Wilde from Bristol in England is the alt-fuzz quintet of Oliver Wilde, Hugo Bishop, Caelia Lunniss, Connor Jones and Andrew Hutchin.
From a startlingly loud opener to the morning writing today with Our Last Enemy, to the subdued sounds of Oliver Wilde towards the end of the morning, there is so much new music emerging continually, it is a never ending opportunity to explore not just geographically, but sonically and in the imagination, which makes being a music reviewer one of the easiest things to do. This never ending stream of new compositions, equally makes it difficult for acts to gain traction, so it is the hope that new audiences will perhaps come back to some of these acts from time to time, that I bring you bands such as Oliver Wilde.
The somewhat melancholic sounds smear across the room in drifts of clouds filling the open spaces like ever expanding foam. Underpinning the acoustics are a spread of instruments and complex composition, which affords the resulting out-put such resonance and by keeping it subdued, a mystical presence.
Originally a solo performer the addition of a full band enables Oliver Wilde to both provide far greater depth in recording and equally a smoother transition to live performance.
Red Tide Opal In the Loose End Womb – Oliver Wilde is available on iTunes*
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Brockley Forest is the alt- rock duo of Dec and Seb from Bristol in England.
The minimalism of set-up – an acoustic guitar through a distorted amp and a stripped down drum kit allows Brockley Forest to create expressive music which for it’s very rawness has an intense impact on the listener. With creative skills outside of purely music, Dec is a script writer and Seb a photographer, the two are able to capture those abilities to add value to both the visual and song-writing definition of the band.
The duo are able to to deliver music which both sonically and lyrically encapsulates the message of the tracks enabling the listener to open their ears and enjoy the creativity and ability, whilst enthusiastically looking forward to the next piece of music. A three track EP 2nd Nature is scheduled for digital release on the 2nd June along with a physical release later in the year.
Whilst an oppressive brooding sense of mystery lays throughout their material, of the five songs I have had the opportunity to hear each tells a story from a very distinctive angle and emphasis. Attesting the strength in depth that Brockley Forest possess between the two of them.
Brockley Forest is a band I both expect and want to hear much more of in the future.
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Rev Porl And The Voice Of God from Manchester in England is the agit-rock collaboration of Rev Porl (Vocals), Stu Crozier (Bass / electronics), Jonnie Moran (Drums), Fish (Guitar), Steve Borsley (Trumpet) and Ros Hawley (Clarinet).
Rev Porl And The Voice Of God
Combining a disparity of instruments and a voice that bears a startling similarity to John Cooper Clarke with a 21st Century re-take. If like me, you enjoy music which provokes thought Rev Porl And The Voice Of God are great territory to explore.
Having been in the underground for many a year, this is where it is likely to remain the case as the positioning is seeking to challenge and in the mainstream music media there is absolutely no interest in disturbing their smug little lives.
Were anyone were ever to take an interest, which is why I am asking you take some time out of your day, the combinations of the poetic lyrics which are semi-chanted to an accompaniment of relevant instrumentation seeks to raise pertinent questions about the status quo in a parody of the accepted norms.
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