King Catcher from England who have frequently featured since their introduction in 2016 released their latest single today – the downtempo – Fear And Loathing.
As has previously been noted, on opening the wrapping it always comes as something of a dip in to a box of Bassetts Liquorice allsorts as to what will emerge and their latest track takes the duo on to yet another different trajectory to material previously featured.
Iin keeping with what, as I type, is an overcast, gloomy day, Fear And Loathing compliments the brooding half-light outside.
There is a drifting cloud of electronica which slowly fills the room with a portent of claps of thunder and sparks of lightning to follow, accompanying the contrasting expanding and contracting synthesised vocal which measures, one moment up beat melodic flows the next ominous monotone menace.
Joelle Edwards, from Liverpool (England), is an acoustic-sadcore creator who performs as Almost Autumn.
Occasional releases surface, having had the opportunity to listen to the back catalogue, I would recommend digging in to the archives as the music is best tasted in large measure to fully immerse in to the fragile, tear streaked compositions.
The songs take a look at various aspects of life’s insecurities and uncertainties – the most recent of which 6AM (available on bandcamp – as are all the singles) touches on the emotional, heartaching nature, of the intensity of transient relationships.
The track combines electronica and natural instrumentation which serves as a mood shifting backdrop to the breaking, expressive and completely captivating vocal.
It was back in October 2017 that the jazz-funk sextet of Luke Novak, Matthew Halsall, Richard Bowman, Evesham Nicholas, Martin and Ryan Szanyi – Late TV – based in London (England) – last featured. In February they will be releasing the single Great Gulfs.
Great Gulfs finds the band in mellowed mood in a track that winds gently though the room as though borne on fluffy pillows and initially invites the listener to step shoulder to shoulder with a partner, though as the song develops so the embrace becomes ever more tenderly close.
The retrospective melody of the track, which glides elegantly through the room, wraps the audience in a sense of warm, cushioned serenity towards the world around.
Once again the English alt-rock band The Ringards ring up the changes to their sound with the latest track – Steppenwolf – which appeared on the 28th.
Imagine for a moment Transylvania was transported to Patagonia – and you will be in the right area for the new track.
A delicious gothic gloom is laden with the terraces of the wilderness of South America both gathered together for a sultry tango, with Steppenwolf jousting a hip writhing beat as the listener submits to the lead of the black-leather clad, high stilettos dominance of the sensuousness of the bass / vocal combinations.
Probably best heard whilst bound and slicked in body oil with a gyrating partner to fully appreciate – though as the track lasts only a margin over two and a half minutes – think of it as a scene setter and not a timer.
It has been just over a year since the English protest-folk project of Jay McAllister – Beans On Toast – last featured. On the 1st the latest LP A Bird In The Hand was released.
As has proven to be the case with each of the previous nine albums, all of which have had a release date of the 1st of December, the tracks revolve around both personal experiences while cognisant of a wider world.
A Bird In The Hand (available on vinyl directly from the Beans On Toast website) is as much a celebration of the birth of a child as it is a reflection of the supporting structures outside the immediate family – with each of the ten tracks being both upbeat while simultaneously scathing of a society in which the silo has become the norm.
Although I am unable to share my pick of the release – Here At Homerton Hospital – the fourth track, the third track – Magic which I am, serves as fine introduction.