The English smugglers-rock creator Matt Couch who performs as Snakeoil Salesmen releases the EP Snakeoil Salesmen II on the 31st.
Music which is steeped in sea-shanty and folklore tipples out of the speakers when taking a listen to the back catalogue and on the basis of the one song I have heard of the four on the EP (available on bandcamp) I anticipate more of the same vein.
Convicts & Catholics, the opening track, skips through the room in flighty rock’n’roll guise finding the audience dancing alongside the scathing lyric, yet not flummoxed by the contrasts of sound and sentiment.
The English melancholic folk creator Tina Boonstra is due to release the EP My Concrete Heart (Will Beat Again) on the 2nd of February.
The second song to be revealed from the EP, I Think I See You Now, was also released as a stand alone single on the 12th.
The frail tendrils of the song hang like an spiders web in a meadow on a frosty morning gleaming in the dawn sunlight, slender yet forthright. The open weave and simplicity of the architecture of I Think I See You Now surrounding the fragile vocal, which threatens to splinter as it emerges from the speakers, finds the audience hushed in unwavering attention as the emotionally charged composition floats through the room.
The English sadcore-hop project Somasu released the EP Late Weeks on the 3rd.
Clouds of wistful introspective meloncholia billow through the room in the EP (available on bandcamp) which contemplate days of deep depression.
The empathetic hushed vocal holds the audience in rapt attention whilst quiet melodies circle the mind as they create the layers of textures which makes this an EP to immediately add to the collection.
My pick of the release being the title track and second of the five Late Weeks.
The latest song to surface – Living Festival (He Loved It All) – which was revealed on the 30th of December, a collaboration with the English musician D.Ni.L, is an upbeat retro-dance track which invites the listener to disrobe their lives from the artifice of social mores in which all are expected to live the life of a template as stamped out by a bureaucrat – and enjoy moments as they arise.
The shifting electronica providing the structural architecture for a vocal which slips between baritone and countertenor that affords the song its organic temperament and finds the listener joining in, in easy dance-step.
Buttercream 87 doesn’t have a website or social media page to which I am able to direct you, nor a photographic image – hence the accompanying image of D.Ni.L.
Recently to be released was the song Half The *Ish which ponders of the changing nature of interpersonal relationships, with many finding the shift from physical connection to flat screen connectivity is a ‘natural evolution’ whilst considering the dynamics of the ever growing impact of virtual reality and where that will fit in to the psyche.
Neither critical nor supportive of the realities of a world in which physical connections are perceived, quite often, as of less import than digital codecs – Half The *Ish extrapolates the processes of pixelation to a world in which the world itself becomes as envisaged by a tech-provider – though pointing out that humans are living breathing beings not binary coding.
Backing vocals are the voice of English singer Bex Grant.