Gillespie – Aq Me Ben – Single Review

It has been approaching four years since the Kosovan dream-wave quartet Gillespie last featured.

Gillespie - Aq Me Ben

Gillespie

This lengthy delay has been due entirely to them laying low, but it is with some pleasure to discover they are back with a new track Aq Me Ben.

Like a wine ageing the maturation process with Gillespie discovers them resurfacing with a more refined sound with the scintillating vocals of Hana being of greater presence and the introduction of synths allowing the band deliver a track that is dreamy space in which to luxuriate.

I hope I don’t have to wait until 2020 to next feature their evocative material.

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New Year Ninety 2014 – 90 to 81

Welcome again to the annual New Year Ninety and I wish you all the best for 2014.

Tim Whale

Tim Whale

Thanks to the readers and the musicians who make it all possible. The New Year Ninety is based on the activity by readers of the various websites during the course of 2013.

90. Gillespie (Kosovo)

89. The Shh (Malta / France)

88. Like Thieves (Australia)

The Wolves at Winter’s Edge -Like Thieves is available on iTunes*.

87. The Fox & The Hounds (USA)

The Fox & The Hounds – LP is available on iTunes*.

86. Femme Fatale (Italy)

85. Hitchcock Blonde (England)

84. Dexters (England)

The Hard Way – Dexters is available on iTunes*.

83. UKID (England)

82. Mechanimal (Greece)

81. Ummagma (The Ukraine)

Rotation – Ummagma is available on iTunes*.

*Purchases made through the iTunes link will result in Emerging Indie Bands earning a commission.

Gillespie

Gillespie an alt-indie band from Pristina in Kosovo is Hana (Vocals), Guri (Guitar), Isah (Bass) and Granit (Drums).

Gillespie - alt-indie from Kosovo

Gillespie

Combining psychedelia and shoegaze then tempering it with rock ‘n roll makes for the ground in which Gillespie deliver their sounds. Well established within the local scene but less known further afield Gillespie deliver music which is steeped in the guitar meandering across the stage giving it something of the feel of an acid jazz feel whilst percussion retains a tight reign on steering a direction and this conflict of context gives the out-put a sense that it is always on the edge of breakdown, making the material somewhat challenging for audiences.


For those who work with the challenges there is much to enjoy, else it will sound jarring and credit to Gillespie for throwing down the gauntlet. The elements that the quartet bring together sparkle as individual components it is more a question as to whether the listener can work with the final construct that doesn’t offer a compromise with the relentless flow of sounds which emerge.

Working in what still remains a region in tension and with limited facilities and travel opportunity Gillespie are doing a sterling job and I hope they are afforded a broader international audience in short order.

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