The Maltese dark-metal quartet Haine released the single This Darkness yesterday.
Haine – This Darkness – artwork
If you are a regular reader of the site you will know precisely where the speakers should be turned and why you shouldn’t waste your or the music creators time listening to it other than on a full speaker set up – for those who are new to the site – as soon as the genre ‘metal’ arises – only a minimum five speaker system on full volume through a full player system with volume kicked up to high is basically what that always suggests.
Opening with seemingly innocuous keyboard the audience is lulled in to a sense of quiet security prior to the track (available on bandcamp) evolving to it full majesty and when it does anything not evenly balanced anywhere near the speakers will fall over as the belting fury of vocal and percussion snarl through the room akin to a raging bull charging foe.
The US calypso-hop project eké miller released the track Directed By Tarantino yesterday.
The claustrophobic air of surrounding daily grind is burst asunder with a warm evening dance as Directed By Tarantino conjoins the realities of life with the abundant opportunities if only the dam can be breached.
Rather than dissolving in to broken bitterness the song maintains an optimism of flowing and tender Spanish guitar melodies which buttress markedly against the narrative, delivering a small margin under three and a third minutes composition that keeps the audience both swaying in syncopation with the soft embrace, whilst peering over their shoulder in snarling contempt at the divisive nature of a world of the 99% and the 1%.
The South Korean based electro-alt-rock project Grey Watson released the single Love Is Good, Its #1 yesterday.
More typically releasing music of less optimistic feel Love Is Good, Its #1 is an electro-washed celebration of all the positives of love without being either a slushy fest of ‘new love’ nor an exposition of long term relationships – rather an upbeat statement of principal.
The almost pragmatic starting point of perspective enables the song to have both a feel-good vibe, whilst retain a depth of sonic structure as guitars and electronica weave through each other. The vocal spinning in and out of focus and tempo changes gives the track a vaguely retro funk-groove underbelly.
The Indian slofi trio Nilein revealed the song Central Park on the 25th.
This is another one of those moments when me being late to an email, on this occasion from April of last year, has borne fruit with new material, therefore an apology for not getting to older material sooner.
Central Park slips slowly in to earshot as it peers tentatively out of the speakers, minding of a dormouse wandering in to a potential spot in which to hibernate and spotting some comfortable nesting and busying itself building a bed prior to quietly resolving into slumber merely a tad over three minutes later, yet hypnotically engrossing the audience with its tentative and careful footstep though the course of the fleeting moments of its activity.
The English indie-rock trio THE CATCH released the single Tie Dye on the 23rd.
A song (available on bandcamp) designed and executed to have you on your feet in a jiffy and join in with the infectious flow of furious guitar beat, laying against frenetic guitar and equally foot stomping bass through which a laid-back vocal takes its time to explore the narrative, giving the track a generous layer of breadth.
If one can find a section in track that is of particular joy when it is all over in less than two and a half minutes, it is when the guitar adds the effect of a xylophone (most prominently) between one minute and forty one seconds and twelve seconds later. I obiter dictum, when you catch it you will also be even more delighted.