The English melancholic-romance project Northwest released the two track single Look At Me on the 14th.
Voluminous echoing open chambers open up to the listener as Northwest deliver in Look At Me an ethereal expansiveness. The scattered sounds are illuminated by their sparsity and the listener is left with a sense of isolation as the spaces create a void into which the mind finds itself drawn.
Very different to previous material featured Look At Me has an untouchable, intangible, intrigue that finds the replay button being hit immediately the track completes its journey into the unknown.
The slowly developing electronics which thread their way through the track that disappear as they quietly appear, gives Look At Me its sense of mystery allowing the listeners mind to drift into its own course of imagination, as the stunning vocal cuts angular slices into the slowly striding synths.
The B side is an extended instrumental version of Look At Me.
Jesse Ruben is a US contemplative-rock songwriter.
I regularly ask readers to send through music they particularly enjoy and although this breaks every ‘style guideline’ – most prominently – it is a release review that is over seven days since release, but being the Editor means from time to time the guides can be torn up and thanks to Haille also from Brooklyn in the USA who made contact of a song on their playlist.
This Is Why I Need You is perhaps a cathartic song for Jesse who found himself running the New York Marathon inspiring him to write a song of incentivisation and discovering support for his thoughts found himself in strong demand, only to be struck down by Lymes Disease when aspirations became more constricted.
This Is Why I Need You has a demure, thoughtful, content that slips into the ears in folds of contemplative melting chocolate as the lilting instrumentation skips around the room, only to be met by an introspective gracious lyric and emotionally connective vocal that spins so far away from many of the brash sounds of Brooklyn that regularly feature on the website, which for its geography makes Jesse Ruben worthy of consideration, of greater import is the ability to deliver a track that has a thumping impact, even when whispered through the lowest sound settings, for its singular composition and natural poetry.
Sandals is the new lo-fi project of Ben Morin from Canada – formulated on the 31st of December.
One of the immense pleasures of being the editor of Emerging Indie Bands is the ability to discover the new and an idea only days old is exactly why this website exists. Of even greater joy is that musicians feel able to send through new ideas, knowing they will not be harangued for being so fresh out of the blocks. Today the only introduction I have replied to with a complete no-no was one by Warner Records with a bureaucracy of PR and Marketing people creating ‘just the right image’ who thought their introduction would be of great excitement. Sandals, however, I do ask you to find time of day to consider.
Dust Bowl (which is available on bandcamp) lasts for two and a half minutes of simultaneously compressed and inflated whisperings of lo-fi haziness as dreamy loops of guitar swoop around the room in billowing clouds of fuzz, whilst a pedantic drum-pad chases the sounds around the ears like a pedagogue only for the echoing vocal to frustrate any such ideas, leaving the listener in a relaxed mood for a multitude of minutes longer than the track lasts.
The English alt-rock band Horse Party released a new single on the 1st.
Gratitude Falling is a blues number in which the guitar features with scruffed strumming that captivates the ears in a track that is of a different flavour to much of what has preceded. The open spaces of the delivery allows the music to create a sense of the dramatic that is enhanced by the superbly delivered vocal that has an underlying gravel and measured half-spoken pace which is an ideal match for the song.
Horse Party have written a track in Gratitude Falling (which is available on bandcamp), that whilst a little different to their regular fare, is a fine piece of musicianship that displays their strong abilities in both song-writing and delivery and bodes well for the year ahead. I certainly look forward to hearing more in this vein.
The Brazilian agit-rock band Aço Negro have already opened their account in 2016 with the release of a new single on the 2nd.
Nunca Acreditei is a scowling commentary on unfulfilled promises as Aço Negro deliver their signature rumbling-metal grabbing the listener by the scruff of the neck and hurling them around the room like cat scolding their kitten.
The unmistakable vocal drags itself from the depths of the throat to the accompaniment of a rugged percussion and guitar which revolves through melody to out-right condemnation. Aço Negro have the ability to unify thrashing rock with illuminating inventiveness while always driving an unwavering stake into the heart of societies ills.
As with most of their material Aço Negro are unafraid to extend the playing time with nuanced changes in pace and emphasis and Nunca Acreditei runs for almost four and a quarter minutes.