Always a pleasure to return to the Australian indie-rock quintet Hedge Fund.
Their latest track Hot & Lonely surfaced less than a couple of hours ago – though not due for official release until the 18th.
True to their record over the past couple of years they have featured on the site, Hot & Lonely has a different sound to previous material in a song that contemplates the push and pull of being in love in a track that aurally threads through the highs and lows of relationships with a melancholic underpinning fed by forlorn bass with a haunting desolate vocal providing the isolated context to the just under three minute piece.
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In Cardiff in Wales you will find, Joel Hertz (Vocals / Guitar), Ethan Hertz (Drums), Rhys Carey (Guitar / Vocals) and Tom Rees (Bass / Vocals) who form the indie-rock band Tibet.
There are odd moments when you just know there is a sound that is not better known for no other reason than the mechanisations of the detritus of mainstream ‘on-message’ media and the bloated pockets of the leeching major label show-boat. I also hear and read much by so called ‘sages’, of the music industry, who definitively lecture on how music creativity is dead and you just know they don’t listen to anything other than the plastic put out on the likes of Sony Records, so haven’t got a clue what is actually happening in the world of real musicians cutting their teeth. Tibet is a case in point. If anyone tells you music is dead – point them to this article about a quartet who are able to deliver everything that you need to make the world appear far brighter than it is in reality, giving a portal to the future, who are more than able to squash the drivel.
Formed only last year Tibet are able to combine all the best of the late ’60s ‘brit-blues’, scooping up along the way the ‘brit-pop’ of the ’90s and turn it all into a joyful bounce for the late ’10s with tracks that rarely last as long as three minutes and a confidence that belies their brief life as a unit thus far.
Tibet flex both pace and volume in their material as the guitars bustle around the room, only, to be hurried along by the percussion as a subtle bass gives the sound a depth of texture that keeps the ears fully tuned. The combinations of voices, which sparkle in their enthusiastic freshness, allow the band to fill the audience with the knowledge that those who suggest music is dying are out of touch with the world of music and would be better off closing up shop.
Tibet is a band one can only hope finds longevity without being subsumed into the morass of record deals that will inevitably flood their way in short order as they have much to add to the world of music.
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Surfacing from Liverpool in England are Brittany Soldo (Vocals), Adam Powell-Evans (Guitar), Jordan Clinch (Bass) and Richard Welsby (Drums) who form the indie-rock band For Everley.
Pugnacious percussion strides across the room launching fists against all it surveys holding aloft the mercurial vocal, whilst in protective guard parades a triumphant bass, whilst guitar plays the dancing minstrel as For Everley combine both wrathful contempt and misty-eyed longing in their out-put.
There is a sense of canonical eulogy in the sounds of the quartet who encapsulate both prescriptive remedy and untrammelled turmoil in the fusions of pulsing temperament which leaves the audience in enraptured conundrum as For Everley tease the audience with simultaneous throbbing tumescence and folding soufflé, somewhat reminiscent of their home city ever featuring two oppositional Christian Cathedrals and a largely agnostic population.
Surfacing earlier this year For Everley have released an EP Beware I Live along with becoming a staple of the local live performance circuit. One can only suggest this is a band to get to know in their early stages as there is evidently much more to offer, which I look forward to featuring.
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Peering out from Leeds in England comes the recently created indie-rock band Milk Crimes of Simon, Ellen and Peter.
Unlike the demure imagery of the band Milk Crimes will have you hurtling around the room in a frenetic waving body. Flashes of distinct clarity as suddenly camouflage themselves in cloudy fuzz as the bursting bubbles explode around the ears. Cramming material into tracks that rarely reach two minutes, the trio are able to compress much coil into confined space as sparkling guitars spring into life accompanied by percussion that seems to find the space to wallow in semi-colons.
It is the ability of Milk Crimes to imperceptibly extend time that gives them the intrigue which raises them far above the mundane. With only five tracks I have been able to hear, which are delivered in their début eponymous EP that was released on the 17th and available on bandcamp, my only regret is that there isn’t more.
Still very much finding their feet and discovering trajectory, with instrumentation and vocals switching between the players along with thoughts on one track extending to the best part of three and three quarter minutes, others not reaching one hundred seconds. I most enjoy Milk Crimes when they are in a hurry.
Somehow I am convinced the nomenclature reference does not relate to Margaret Thatcher and the removal of free milk to schoolchildren in the ’70s, in their most springy footstep.
I look forward to discovering more of Milk Crimes in future extrapolations of creativity.
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From Colchester in England surface SURGE an indie-rock band formed of George King, Alan Jones, Billy Fenton and David Smyth.
Getting together in April of this year SURGE have established a local presence, which is expanding like ripples across a pond with their intensely packed songs. Although I have only had the opportunity to take a listen to four of their tracks, the brief journey in sound finds the quartet able to deliver both acoustic tipped tenderness and tightly strung temper, both with equal aplomb.
SURGE are able to create, in the audience, a feeling of ‘life is good’ as their catchy sounds skittle around the room. It will come as no surprise to regular readers, that I enjoy the quartet most, when they are crack-along mood, when to my view they really come to life.
Set for release on the 14th of September is the two track single LOVEBLOOD, the B side of which I Don’t Know What You Think About Love, surfaced a few hours ago.
SURGE is a band to get to know in their early sages of development and I look forward to being able to follow their progress over the coming years, as they have much to add to the richness of the world of music.
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