A year after the release of their début single K. JaneMiracles For Today are to imminently release Tear Me Down through the Tomsk (Russia) based label – Juiced Alien Records, whose releases fairly regularly feature on the site, with their predominately local Siberian bands.
Tear Me Down finds Miracles For Today in faster territory, with an almost thrash element that sears through the opening bars and Margarita, on drums, maintains the pressure as the tracks steers its way through both freneticism and considered quietness over the three and three quarter minutes, whilst guitar is given air to develop themes contained in the piece.
Miracles For Today are able to deliver both anxiety and moments of lightness in the track, which showcases the development of the structure of the sound in the intervening year.
The English alt-indie quartet Lucie Barât & The Au Revoirs release their début two track single Fallen on the 13th of November.
Lucie Barât & The Au Revoirs – Fallen – artwork
A tentative voice accompanied by quiet guitar sets the opening scene for Fallen, before all the elements drop in together and pulsating chorus pump into the ear, prior to dropping away again and this technique deployed by Lucie Barât & The Au Revoirs throughout the track, gives it an impressively powerful and haunting presence.
Fallen bears an immediate repeat to capture the fullest flavour of the piece. The highly charged voice captures the attention, but for me the highlights are the percussion that veers from gentle snare to flighty utilisation of all the kit with no loss of timing, together with the precision of mood changes by all the players that could not be of sharper cut if delivered by a guillotine.
The B Side – Apology, shows a different element to Lucie Barât & The Au Revoirs in a more driven number, that give greater space for the guitars to express the context. As with Fallen, the quartet do introduce significant mood switches, keeping the listener ever attentive.
Of the two, inevitably it is this more gutsy activity that ensures Apology is my pick of the release. A track that finds itself on the release more to do with creating a vinyl version of the single than anything else .
The English alt-indie quartet The Lottery Winners released the single I Know on the 12th.
The Lottery Winners – I Know – artwork
The Lottery Winners sublimely sew threads of melancholia with bright-lights and I Know is a welcome introduction to the quartet.
It is easy to make comparisons of ‘sounds like’ but to do so takes away from their imagination and creativity. The vocal which slides easily between flats and sharps enables The Lottery Winners to generate the template of emotional travel, which the instrumentation and percussion subsequently highlight, as the voice and music fluctuate between heading in the same direction and veering on polar opposite course, with singing edging higher and guitars pointing lower, at different pace, to come together again with a precision that leaves the listener sensing they are listening to an aural illusion.
I look forward to hearing more of The Lottery Winners, who can be found spending much of their time on the road. If there is any justice in the music industry it shouldn’t be far off that the quartet find themselves on the international touring stage.
The Australian blues-rock trio The Sunday Reeds released the single Pretty People on the 12th.
The Sunday Reeds – Pretty People – artwork
Currently working on a new LP The Sunday Reeds, in Pretty People, provide all that caused me such enjoyment when first reviewing them back in June of last year.
A deep purple velvet cloak of mournful sadness descends into the room as the three and a half minute track of visceral abhorrence opens.
As always the understated voice of Romana captures the attention of the listener, with its smoky allure. Of marked addition, in Pretty People, the guitar is given greater focus than in previous tracks featured and the plaintive delayed echo adds significantly to the sense of scant regard for ‘fifteen minutes of fame’ which subtly alludes to the influences of pop art and The Velvet Underground that permeates, though doesn’t soak, through their material.
The Australian indie-rock duo Foreign Architects release their latest single Fall on the 16th.
Foreign Architects – Photo: Jonathan Wong
The munching percussion furrows its way across the room as Foreign Architects utilise the drum-kit as a lead instrument in Fall, how could I not be enamoured? The solidly planted guitar and bass amplification maintains the fulminations of the sticks. Vocal adds a different dimension to the two and a half minutes of rumble as it is of softer tone giving the duo the ability to thread a brief song with much to consider.
It is little surprise Foreign Architects have garnered much regional interest, Fall sows the seeds for a much broader international following than having been gained from a trip to Singapore.