On the 16th the US grunge quartet OVEF OW will be releasing the EP Working.
Opening the four track EP is Working Girl which grinds through the room minding the listener of stilettos needing a re-heel for too much walking as a flexing analogue winds through the ears to the accompaniment of the feisty thighs of bass and smeared red lips of vocal as the lithe percussion of calves wraps around the audience all in a snarling sneer, which in essence is the whole purpose of Ovef Ow, who are able to take a scant view to the world around whilst simultaneously smooching – well worth the cost of the release on its own (which is available on bandcamp).
Next is Psycho Crush – a far darker number that bustles through the speakers in a duality of speed giving the song a discombobulation further enhanced by a bending vocal that minds of the distortions of a parabolic mirror.
The third song is The Whistler, which is a humming wurlitzer wrestling with guitar instrumentation with the percussion acting as referee and a song that requires immediately replay.
My pick of the release is the closer Working Boy – which bleeds in to the room on the back of an extended raw chalk-board screal that grates the teeth prior to developing in to a parenthesis of oiled flexing inner thigh fed through the guitar from which the scratching vocal gnaws the neck and the listener descends in to a vestige of their own existence and the audience becomes lost in their own deepest desires as synthetics and bass whirl temptingly around the mind in ever faster and more urgent thrusts of the hips prior to reaching a climactic rictus of growling self-loathing.
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The Finland based alt-indie band Timshel released the EP Hubble Jive on the 18th.
Reigning back on the dancing vibe of their sound Hubble Jive has a more introspective mood than much of their previous material featured.
The opener and title track Hubble Jive sets the scene for the EP as Timshel contemplate the vastness of the universe in conjunction with the intensity of personal emotional desires resulting in a track that has an underlying sadness which wraps around the listener in empathetic embrace.
Next is We’re Still Here which is perhaps entitled as such – as recently what was a sextet became a trio in a track that is a credit to them as they are unafraid to express their sadness at the sudden change and sense of fortitude that there is still a kernel from which to develop, whilst making it available for all to explore and extrapolate as the listener wishes.
Setting themselves back on to a more even keel – Floating – which featured back in June finds the trio on a more familiar path.
The closer Rising Airplanes is my pick of the release as it indicates Timshel have reconciled the past, the present and are looking to the future with the wistful just under four and a third minutes of evocative synths, instrumentation and considered vocal.
Whilst a cathartic release for Timshel, Hubble Jive, is equally a fascinating journey for the audience, who feel they too are emotionally invested.
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The Australian new-wave quartet The Apathies released their début eponymous EP on the 13th.
Opening the four track release – The Nang Song sets the scene for the release (available on bandcamp) as the sounds scatter across the room in shafts of trippy light that minds of watching a swarm of Lampyridae darting around at night as the song threads through a diversity of pace and intensity.
Next is Nothing To Do which opens with delicately played upper notes on the guitar as-though a librarian wearing soft gloves handling an original Shakespeare manuscript prior to ripping out the pages in frustration, with plectrum sliding up and down strings leaving a delightful springy recoil to the sounds.
What You Want readily identifies The Apathies are far from apathetic, rather capable musicians and song-writers who can create intense imagery within the sparse architecture and my pick of the release.
Closing out with Camus’ Desert which appropriately given the reference to Albert – is an abstract, approaching four minutes, of psychedelic meanderings.
Think Wreckless Eric, Iggy and The Stooges and Captain Beefheart and you will be getting an idea of the melting pot of ideas and influences The Apathies draw upon to create their music.
I look forward to hearing much more of the quartet in short order.
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The England based electro-indie outfit Nolita View made available the EP How Could I Loose? within the past five hours.
Those of longer stay will recall the iterations of Nolita View dating back many a year – for those new to the site – this a good starting point with the four track EP that is due for official release on the 14th.
Opening with Runaways – a sleighted hand of ideas as shoegaze and mod coalesce in just under two and three quarters of intrigue delivered with some mastery.
Next is Caroline, which for those who know the band will cast minds back to previous material as ’70s surf finds itself shrouded by punctuation of guitar that is able to stud holes in the wall.
My pick of the release – The Road – gives a sense that Nolita View are not reticent of their past, nor perturbed by exploring new ideas in a track that finds them in finest flow as the deeper registers of more forceful bass slips around the room, to be joined by sharply strung guitar that is allowed marginal, but, distinct vibration as percussion skips into the ears from which vocal – akin to a figure-skater gliding elegantly on the ice prior to throwing in an unanticipated axel-jump – shimmers through the ears.
The closer – Fire It Up – discovers a new mood of more algebraic equation and a direction of sharp angles with sheered guitar and passages of swatches of colouration provided by synthesised echoing delay and chord changes. It will be interesting to discover if Maths-rock is a new journey for Nolita View or an eddy.
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The Indian rock trio Unohu released the EP Babel a few hours ago.
Opening the four track EP is Call My Name, which discovers Unohu in dirty leather jackets as the guitar slingshots around the room in a tad just over three and and a third minutes of growling rock’n’roll. The value added track on Babel.
Next comes Waiting For Caesar a number that replaces the leather jackets with recently pressed shirts as Unohu combine heavy-metal with indie, resulting in a track, which far from threading confusion resonates of a trio have far more to offer than straightforward constructs.
The third track – Incognito reaches one again for the anchor as the scuzzy guitar weighs down the composition that gives bass and drum-kit foreground in a drizzling blues driven thread of ideas.
The conclusion of Babel rests with Time, which is also the longest track – running at one second under four minutes in which Unohu disport both their reference points of ’90s britpop and ’70s heavy-metal to deliver a song in which each element of the band is given moment to shine. My pick of the release.
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