The Easies is the solo alt-indie project of Henry Moser from the USA.
The first track to surface – Place I Like To Go, slows down the day with surf reverbed guitar that warms the room as the track progresses, set to a soft brush vocal. The whole effect finds the audience settling back in their chair to imbibe the vaguely retro-feel of The Easies.
Running at five minutes, Place I Like To Go, perhaps overstays its welcome, but the cutting off of excess will come with the development of the project. As a first release Henry has delivered a track that will keep The Easies in the minds eye and I look forward to hearing more of the luxurious hushed melodies.
The French synth-wave creator You Are Number Six has featured regularly since being introduced in May of last year.
You Are Number Six
The latest track to surface – L.V.E.U, which has appeared within the past 24 hours, has a more centrist perspective than much of the previous material. With vocal pushed more to the forefront and a prominent bass metronome, it is possible to imagine meandering around the dance-floor.
Maintaining the other-worldly timbre of the material Théo has introduced a sense of connection, whilst retaining the air of mystery that is the signature sound of You Are Number Six, in L.V.E.U.
The Australian alt-rock band The Owls are planning to release their début LP early in 2016.
The first track to appear from the album, is You’re Alright, which showcases the garage fuzz roots of The Owls, whilst adding their rock signature.
Having spent much of 2014 on the road, The Owls decided to focus this year on honing their craft with the idea of putting together an LP and You’re Alright is an indicator of the steps made over the past few months.
The Welsh indie-dance quintet Beach Fatigue released the single Drunken Grrrls yesterday.
Long in existence, under the name Heavy Petting Zoo, becoming Beach Fatigue in the past few months and Drunken Grrrls is the début single under the new moniker.
Head for the Edwardian Drapes, before hitting play as Drunken Grrrls finds the listener in synchronised footstep with a slo-mo version of Teddy rock’n’roll. By putting the brakes on the tempo Beach Fatigue is able to create a softness to the sound that reflects well of the lethargic pace and flabbiness of the ’10s.
Beach Fatigue more than make up for the slower tempo by utilising the extra time to create the gentle waves of guitar which lay over a percussion that furiously taps away keeping time with the original ’50s and using the room to navigate the wider drum-kit, as the bass checks the marks that slows the pace and from which the vocal becomes the focus of attention.
I can only hope the quintet, what ever they call themselves, are still playing in another five years time as they have much to add to the world of indie-dance music.