Indian Summer an alt-rock quartet from Coventry in England is Nathan Wood (Guitar / Vocals), Benjamin Scott (Guitar / Vocals / Synth), Tim Hegan (Bass) and Sam White (Drums).
Shimmers of shoegaze feed through the guitars as Indian Summer deliver music which lives up to the band name, somewhat mournful, yet with that lightness of late autumn sunshine. Formed mid 2013 the quartet recorded an eponymous five track EP in December that they have released as a pay as you like download on bandcamp in which they explore some of the different influences of the players.
The quiet backdrop of electronics adds a warmth to their sound which would otherwise sound quite sharp to the ears as they tighten the strings and voices to the higher registers. As you know, being a fan of stretched bass, it sits at the opposite end of the fret to my personal taste, nonetheless no less the engaging for it.
Indian Summer have made a fine start and have the ability to write tunes with catching melodies, whilst having a depth of emotional context and I would anticipate that with more experience and confidence they will be releasing material which snares a broad international appeal.
My choice of track for the introduction to Indian Summer is unsurprisingly one in which they allow the bass and percussion to rumble a little.
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Greeting Committee from Newcastle-Upon-Tyne in England is the psychedelic quintet of Sean Hanson, Jon Corbett, John Cardill, John Duggan and Woodtits.
The Greeting Committee
It was only last month that I first came across The Greeting Committee through a video posted by End Of The Trail Records, however I did want to get a full review written as soon as possible.
The music imperceptibly wafts across the room as otiose guitar notes drift gently across the room, dreamily filling the head with kaleidoscopes of colour. The band combine references to a version of slow-motion Brit-pop and ’70s psychotropics to provide the listener with an intriguing third eye of sound that melts inside the ears.
The unhurried delivery enables the audience plenty of time to saviour the individual components of the tracks, without it ever becoming funereal as inside the seeming torpor The Greeting Committee are busy delivering layers of texture and activity. Their relaxing stance makes for a comfortable space in which to lay as a haven to the freneticism of much of the current music around.
With four years experience behind them, The Greeting Committee deserve a far broader audience than thus far achieved, which is perhaps due on the main to their scarcity of releases.
Island – Single – The Greeting Committee is available on iTunes*
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Senopia, based in London – England , is Pia B (Vocals), Andrew B (Bass / Guitar / Programming / Vocals), David H (Drums) and Rich W (Guitar) an electro-rock band comprising members from Finland, Austria and England.
Electro-rock when in the hands of skilled creators can be a stunning space in which to spend time and the fact that I am writing about Senopia is a clue to my thoughts. Combining ability with a breadth of cultural influences enables the quartet to offer music with a broad wingspan.
The combinations of synthetic sounds and instrumentation gives the quartet an ethereal outline within which the compositions form solid blocks of being which flash across the brain. Another band to spend considerable time to allow the music to soak the brain. Senopia are able to portray their ideas inside tracks which never extend beyond their welcome, though flood the audience in considered deliberations.
For a moment of tranquillity the quartet offer an enticing spa in which to unwind as the smoke wafts around the room. My only surpise being that after nearly four years their profile remains subsumed. One can only hope that their debut LP Modern Squalor which came out yesterday will raise that profile to a far wider audience.
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Stop Press! is Emma Hodgson (Vocals), Tom Salussolia (Guitar / Vocals), Aaron Tebano (Bass), Joe Riley (Guitar) and Ian Flynn (Drums) a ska outfit from London in England.
Stop Press! make for an interesting variation on the genre, with the spiky cut, off beat, cliff-edges having a feel of being ironed to a more gentle slope, a Northern Soul / Reggae combination, which captures the attention of the audience. There is an infectious warmth which permeates the music leaving the listener in a glow of feel-good after spending time with the quintet.
Keeping themselves active in the live scene they can often be found playing in and around London, alongside which, sporadically, recorded material is made available for more distant listeners.
Whilst I appreciate that EPs and LPs are out of vogue with many bands and buyers of recorded music, the music of Stop Press! seeps into the soul far more effectively on extended play and I hope they make more recordings and longer length releases as this is a sound that has a broad international appeal.
I look forward to hearing more of Stop Press!.
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The Kingsmiths is Eddie Henley (Vocals / Guitar), Amir Taghan (Drums), Elliot Parkes (Guitar / Backing Vocals) and Ed Singer (Synth) an alt-indie band from Brighton in England.
Like pulling party poppers The Kingsmiths create songs with punchy punctuation, which gives the material the sound of continual capital letters emerging out of the speakers. The staccato style demands absolute precision and the quartet is able to meet the mark as required. Maths-rock is a difficult nuanced music to carry off, with it’s sharp and accurate lines, however the quartet meet the task and more than that are able to inject warmth and a sense of fun with strong use of melodies both lyrically and through the instruments.
Eighteen months into the development of the band The Kingsmiths recently released a five track EP Arms For Legs. A smartly put together piece of work, which should see them further raise their visibility, that is already growing along the South Coast with regular live performances, in addition to a couple of London gigs coming up in February.
The music has an immediate approachability in core style that is normally quite spikey for those not inculcated in the genre, which gives The Kingsmiths the ability to attract a broadly based audience.
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