Stefan (Vocals / Guitar), Angus (Vocals / Guitar), Lachy Billows (Bass) and Graham (Drums) from Adelaide (Australia) who form the indie-dance band The Montreals released the single Rude on the 30th of November.
Opening with a hum of synthesises the track immediately creates a warm flow of air that drifts through the room with an ease of footstep, generating a relaxed ambience through the mind.
Soon skipping up in pace as the full sound floats in to the ears the tautly strung drums enables the beat to spark brightly through the song while the mellowed instrumentation creates the feel-good mood of the composition while a distinctive vocal rounds out Rude to form a track that has a subtly infectious and hypnotic quality.
Virginia Marcs is an alt-folk creator from New York (USA) who, on the 18th, released the single I Need You.
Whilst in comparison to much of the back catalogue I Need You is of more optimistic demeanour that is merely a factor of contextual relativity.
The luxurious palette consists of hues of deep crimson, rich purple and dark navy with the intricate melodies and immersive vocal sinking deep in to the bone marrow filling the body with an intoxicating warmth leaving the listener with no sense of an outside world.
The only downside is that I Need You is all over within a mere one hundred and seventy eight seconds leaving the audience immediately desirous of more.
It was heading towards two years ago that the Bradford (England) trio of Craig (Vocals / Guitar), Chris (Guitar) and Matt (Bass) who form the core of the rock band 45. last featured. On the 17th they released the three track single – Godspeed.
The extended gap is not a reflection of lack of new material, rather my own inabilities to keep up to date, later than deserved, an update.
The three tracks on the single (available on bandcamp) are each of different texturing.
The opening track – It’s Got Soul is a dark buffered composition which has the listener investigating to ascertain if they have moving foundations as the pulsing bass / drum combinations rumble through the speakers.
My pick of the release – Glorywalk – is a more emotional and empathetic treatise of a tautly strung lead guitar and snare drum which gives the piece something of a marching anthemic to it, though as the song progresses, in to earshot swims Puducherry cultural influences.
The closer and the title song, Godspeed, is a bright and breezy country-blues influenced rock composition, which appropriately links back to their americana-rock introduction.
Mara Daniele, from Memphis (USA) now based in London (England), who performs as the cadent-folk musician Mara released the single Post Office in Portland today.
On occasion as a music reviewer I am hit by a gem and I just know this is a musician I want to follow their progress over many years – Mara is a case in point.
The quirky instrumentation, which gives Post Office In Portland an immediate anchoring in the ears is joined by a singular vocal that holds the mind transfixed in the rolling combinations of cadence and pitch and although aware there is a tale unfolding the listener feels themselves merging with the song and rather than focusing on any one thing becoming subsumed with the hypnotic effect of the composition and vainly wishing the track never concludes.
The noir-rock trio of Elijah Dahl, Hannah Layhe and Chris Nicholls from Bristol (England) – Oh, The Guilt – released the single Darkest Days today.
Oh, The Guilt
Following on from their 2016 eponymous EP (available on bandcamp) Darkest Days (also available on bandcamp) while holding similar brooding presence in its slowly rotating dark gothic demeanour is simultaneously able to catch the sense of isolation and introspective melancholia felt when life goes badly wrong while equally offering outstretched arms extending a comforting and sympathetic embrace of companionship.
A song which, in my view, lifts their music in to a altogether higher plane of performance as the absorbing bass, muffled percussion and dreamy guitar are woven with the hypnotic and otherworldly vocal, giving the song an hypnotic allure – there are few better ways in which to spend the seven and just over three quarters minutes of Darkest Days – I merely implore of Oh, The Guilt that it is long before 2020 that they return with new music.