The US melancholic-rock creator Spencer Robinson released the EP Standing At The End Of The World on the 13th.
On hitting play the listener is immediately struck by the fact that Spencer Robinson is a musician who knows one end of a song from another and over the years he has established his credentials – which is verified by half a decade as the bassist for a garage-rock outfit – and his transition to a player of delicate balances of solo artistry with his début release is timely.
The vaguely folksy underpinning of the material gives it an honesty of approach, enhanced by the careful selection of instrumentation and pacing, enabling Spencer to create a sound that wraps the audience in a gritty realism from which they have no desire to escape, other than to ensure there is a dram or two left to imbibe – through the roughly eighteen minute, five track, release.
Standing At the End Of The World is also due for release through Solid 7 Records as a limited run cassette in January.
My pick of the release is the opener and title – Standing At The End Of The World.
The Girl Who Cried Wolf from Mechelen, in Belgium, is the melancholic-rock quintet of Heleen Destuyver (Vocals / Keys), Samir Boureghda (Guitar / Keys), Michael-John Joosen (Drums / Vocals / Keys), Sofie Sweygers (Cello / Keys) and Willem Meeus (Bass / Keys).
The Girl Who Cried Wolf
I would like to take this opportunity to welcome the Belgian journalist Sarah Gommers, who will be writing articles from time to time predominately focussed on the Belgian, Netherlands and French scene.
A band with a special name. A name that doesn’t just expose it’s secret, one that sounds mysterious. Does it have anything to do with wolves? Or a crying woman?
Without over-analysing, or trying to discover the why behind the name of their band, it’s easy to feel it fits in a somewhat dark atmosphere, one created to bring us a message.
‘The Girl’, as they call themselves in short, is not a group of friends that went on the play music together. They’re musicians that found each other in their passion for music, and because of that became friends. It’s quick to notice too. Five completely different personalities that somehow fit together perfectly. Even though all five of them are pretty down to earth about the possibilities of the band: growing organically, performing, improving and releasing some CD’s. They want to capture a place in the hearts of their fans.
Thanks Sarah, your contribution is more than welcome and I, along with the readers look forward to discovering more of your introductions.
Earlier on this year a group of experienced musicians – Tom Rhyland (Vocals), Dan Buckland (Guitar), Joe Southin (Organ / Piano), Nick Mailing (Bass) and Matt Banham (Drums) got together to form the Home Counties, loosely pivoted around Bedford in England, based melancholic-rock outfit The Passion Bearers.
The Passion Bearers
Like a drifting pall of fog The Passsion Bearers wrap the listener in an ethereal discombobulation.
The exemplary deployment of the keys to create the atmosphere, without taking over the mantelpiece, allows the quintet to produce music that resonates of turmoil, yet through the smartly composed and delivered constructs there is a vaguely burning candle to which the mind can fixate. A tumbling percussion bounces around in the background, giving the material a surprisingly spritely tilt, accompanied by a mesmeric droning bass, to which the guitar provides the narrative between the instrumental elements. Rounding off the sound is a gothic, half-spoken, ghostly vocal.
The Passion Bearers are a very welcome addition to the world of music and I look forward to getting to hear far more than the four tunes by which I have had the opportunity to be chilled.
Their début single The Hours is scheduled for official release on the 2nd of October and I am already hanging on the future releases by the quintet – A ‘must add to the collection’.
Albert Bagman from Baltimore, Maryland in the USA is a solo melancholic rock project.
Slowly drifting out of the speakers comes a puff of smoke that gradually permeates through the room as Albert Bagman surreptitiously brings together eight bar blues with grunge rock to pervade the soul.
As with all solo creators I can only marvel at the patience as each instrument is laid down one over the other allowing the audience an insight into the minds eye. The extrapolation of which leaves the head reeling from the declensions that arrive. What most drew me to the music of Albert Bagman is the way in which an idea that initially seeps out of the speakers is brought to life as the tracks develop, becoming ever more complex billows of oil-fuelled cloud.
About a year into the concept of Albert Bagman after time as part of a band it will be interesting to hear how the music develops, as early full instrumentation when being met with a request for live performance resulted in electronics appearing in the thought process.
I leave you with a machine backed number followed-by a full instrumental track. Some quandary Albert Bagman faces as both are of considerable interest.
As of yet, there is no website, or social media page – I can a link to bandcamp. I am led to believe a new label may surface called Hebegebee Records – keep your eyes out for more information on this as it evolves.
Matthew Edwards And The Unfortunates originally from the USA now based in Birmingham in England is the melancholic rock outfit centred around Matthew Edwards with David Roberton, Derick Simmonds and Bob Dog forming the line-up now recreated in the UK.
Matthew Edwards And The Unfortunates
The music of Matthew Edwards And The Unfortunates languidly floats around the room in a pall of atmospherics as the sounds, which mind of gallows in early morning mist, drift around the ears. The sombre considerations have an almost tangible feel with their rich tones.
Whilst morion of temperament the quartz has a lustre which glows blackly between the walls. It is the very sadness, which is translated in luxurious compositions that makes Matthew Edwards And The Unfortunates addictive to the listener. The multitude of instruments deployed are not over-arched, each, adding a necessary and not over-played part in the orchestration. The intonation of the vocal suits each moment in the tracks, bringing the ideas together in an intense out-put.
Currently working on a follow up LP to the The Fates, which was originally distributed only as a CD in 2013 – now available digitally, it will be interesting to see how the new formula moves forward.