The English alt-rock quintet The Hemingways released the single More Than This a few hours ago.
Couched in ’70s brit-blues More Than This takes the listener on a journey of dirty chords in which to sink like pulling on a favoured pair of jeans which have moulded themselves in to the right shape.
The raw throat and immensely confident vocal is surrounded by roughly hewn chunks of sawdust guitar which delights as the stomping drum-kit and bass bounce against the walls with the unexpected delight of a synth which, rather than being a calming influence, adds to the fire with its zigzag of keys – inevitably – for those who know the site – my advice has to be – play it loudly or don’t play it at all.
The US hushed-rock project Ginger Root released the single Two Step on the 8th.
Akin to the flavours in the name of the musical entity Two Step (available on bandcamp) calmly and elegantly slips through the speakers prior to filling the room with a warm texturing which builds in intensity prior to quietly slipping back in to its dinner-jacket and departing with as little fuss as it arrived.
Ginger Root creates music which is easily ingested and potentially ignored as listless, though so to do would be remiss as – underpinning the compositions are subtle and immensely satisfying layers. To sort of maintain the food analogy: There is the immediately presentationally attractive ‘fast-food’ radio play music which on second bite in reality tastes as bland as the first bite – then there is 족발 (Jokbal) with its infusion of ginger root.
The Canadian shoegaze quartet Greenhouse released the single Vincent Van Slow on the 4th.
Not to be confused with the US electronica duo of the same name introduced in 2013, Greenhouse deliver music that fills the room with slowly rotating interweaving guitar that minds of a fine shower which, although each droplet is light of touch, is contained within a concentration that is as quick to drench the clothes as a tropical storm, resultingly, despite though perhaps simultaneously due entirely to its fragility, generates a long-stay memory imprint.
In the slow tempo Vincent Van Slow (available on bandcamp) unhurriedly unfurled individual notes and chords drift away in to silence yet are carried by the shimmering reverb and echo as though in a continuum of sound, which wraps itself around the listener in delicate silky threads.
The Australian indie-rock quintet The Union are working towards the release of an LP next year.
Although early in the process of the album – currently pencilled in to be on the release is their most recent track to surface – Saskia.
A just over three and a half minutes song which splits into distinct elements with an acoustic guitar announcing the arrival of Saskia – the listener is rapidly shaken from any idea of a ballad unfolding as the electric guitars and drum-kit spark in to life, like a four-stroke motorbike firing up, signalling the start of the core segment with a combination of pulsing bass / percussion, supporting the rocking riffing lead with the rolling wave of the rhythm guitar and the vocal providing a lighter indie topping. The bridge fades back to the opening acoustic accompanied this time by vocal as though continuing the opening stanza building back to a more fiery version of the main body of the composition fading back to an acoustic finish.
By allowing themselves time to develop the song fully, in Saskia, The Union are able to deliver a track that makes for a coherent package with plenty to engage the listener whilst not overstaying its welcome. If this prefaces of the quality of the songwriting in the album, it will be a body of work to add the the collection by a recently formed out-fit.
On the 29th of September the England / Romania based project of Matei Tibacu-Blendea – The Details – released the single Stop and Dedicate Some Time To The Sun.
Sometimes working alone sometimes with others as with Stop and Dedicate Some Time To The Sun (available on bandcamp) the shaded compositions flow around the room in invitation to embrace on the dance-floor.
This track is able to deliver the romanticism of Romany folk wrapped inside sparkling evocations of wandering guitar, a pulsing bass (which snarls akin to guard dog ensuring everything is order) whilst the alluring vocal of Georgina Shaw filters in and out of earshot as trumpet, courtesy of Gareth Bodman, provides the carnival mood.