The celtic-metal sextet of Matt (Vocals), Nicolas (Guitar), Tristan (Keyboard), Guillaume (Guitar), Matthieu (Bass) and Axel (Drums), from Lausanne (Switzerland), who form the band Norvhar will be releasing their début LP Kauna on the 16th of February.
Released as a standalone single today (available on bandcamp) – Fest In Midgard -, which is the second single to appear from Kauna, opens to a quiet strumming in to which the mind prepares for a softly laid celtic ballad only for the scabrous vocal to hurtle though the speakers, immediately cloaking the room in a bewitching Nordic folk-tale of legendary battles in dark forests.
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.
The trio of Nic (Vocals / Guitar), Matt (Bass / Vocals) and Sean (Drums) who form the garage band The Ians, based in Melbourne (Australia), released the single Gold Teeth on the 26th.
If there were a handbook on how to define less is more Gold Teeth would be the primary entry with its laid bare stomping energy thumping through the speakers.
Two minutes and fifty six seconds of sublime rock’n’roll from which everything extraneous has been stripped. The listener finds themselves with a pumping heart, punching the air while leaping around the room in sweat covered delight, I am just off to play that again… .
Sahara Breeze is an indie-gaze trio from Cheltenham in England comprising Conal, Connor and Matt.
Why the image of four players you may well ponder… in a slight hiatus in their development the original drummer John is heading off to University, just at the moment they released their début eponymous EP – such is the life of many of the bands who feature on the site as you know – with change in personnel.
Rather than folding up the cases Sahara Breeze are working with session drummers whilst searching for a permanent replacement and judging by the four tracks I have been able to hear, this is a good thing for the world of music as potentially they have much to add.
Sahara Breeze are able to transpose reflections of ’60s mod with ’90s indie and add drips of magic mushroom tea to deliver music which revolves around a spindle. If you were looking for a band who should be putting out vinyl with purple inlays – these are the trio who produce music that works.
I am looking forward to future development of Sahara Breeze who, like a sirocco, streams across the room leaving sand abrasions on the walls.
Doodah Farm from Liverpool in England is the alt-rock-a-billy quartet of Stevie (Acoustic Guitar / Vocals), Mark (Bass), Joe (Ukulele) and Matt (Drums).
Doodah Farm – rock ‘n’ roll from England
Electric-Blue suede brothel creepers make perfect sense with Doodah Farm as they combine folk with rock ‘n’ roll finding the listener with a broad smile and dancing feet. I am minded of The Nerve (the 70’s band) for the 21st Century as inside the bouncing pieces is a considered smartly observant lyric.
Skittering percussion is flecked with a softly spoken bass, which gives the sound a firm footing, allowing the acoustic instruments to swivel happily, creating a sound that is lots of fun to listen to as the quartet merge the light hearted with a considered reflective that coalesce in a formula that allows the audience to tap their feet whilst considering the layers.
About a year old, Doodah Farm is still finding a defined area of sound, as earlier pieces are more folk orientated, some replete with mouth-organ, than the most recent material. As a personal preference, it will come as no surprise to you that I enjoy the more energetic newer compositions, which combine both the considered with the scatter-gun spine which inevitably holds more interest to my ears and I also feel it gives them a more spacious singularity than the heavily Dylan referenced early sounds.
I look forward to hearing more of Doodah Farm in short order.