The Welsh melancholic-rock trio Lost Like Alice released the two track single Empty Tank on the 9th.
Lost Like Alice – Empty Tank – artwork
The vocal, that captures immediate attention, drips of emotional context surrounded by equally mournful instrumentation shrouds the listener in sublime dark cloaking in which there is, paradoxically, a comforting embrace of texture the audience finds a restful place to lay the mind.
Lost Like Alice is an outfit I look forward to hearing more from in short order and by way of an introduction the title track – Empty Tank.
The English melancholic-rock project Rose Redd is finalising details for a new EP.
Within the past few hours Crying Out, which is from the forthcoming release, has surfaced.
It was back in 2014 that Rose Redd last featured and the strong voice is immediately recognisable as is the dark underbelly of the song.
Rose Redd delivers tracks which have a timelessness to them as the strong roots in classic rock are formed into compositions of melancholia which reflect on the darker moments in life and the listener can discover personal empathy with the content.
The US melancholic-rock creator Spencer Robinson released the EP Standing At The End Of The World on the 13th.
On hitting play the listener is immediately struck by the fact that Spencer Robinson is a musician who knows one end of a song from another and over the years he has established his credentials – which is verified by half a decade as the bassist for a garage-rock outfit – and his transition to a player of delicate balances of solo artistry with his début release is timely.
The vaguely folksy underpinning of the material gives it an honesty of approach, enhanced by the careful selection of instrumentation and pacing, enabling Spencer to create a sound that wraps the audience in a gritty realism from which they have no desire to escape, other than to ensure there is a dram or two left to imbibe – through the roughly eighteen minute, five track, release.
Standing At the End Of The World is also due for release through Solid 7 Records as a limited run cassette in January.
My pick of the release is the opener and title – Standing At The End Of The World.
The Girl Who Cried Wolf from Mechelen, in Belgium, is the melancholic-rock quintet of Heleen Destuyver (Vocals / Keys), Samir Boureghda (Guitar / Keys), Michael-John Joosen (Drums / Vocals / Keys), Sofie Sweygers (Cello / Keys) and Willem Meeus (Bass / Keys).
The Girl Who Cried Wolf
I would like to take this opportunity to welcome the Belgian journalist Sarah Gommers, who will be writing articles from time to time predominately focussed on the Belgian, Netherlands and French scene.
A band with a special name. A name that doesn’t just expose it’s secret, one that sounds mysterious. Does it have anything to do with wolves? Or a crying woman?
Without over-analysing, or trying to discover the why behind the name of their band, it’s easy to feel it fits in a somewhat dark atmosphere, one created to bring us a message.
‘The Girl’, as they call themselves in short, is not a group of friends that went on the play music together. They’re musicians that found each other in their passion for music, and because of that became friends. It’s quick to notice too. Five completely different personalities that somehow fit together perfectly. Even though all five of them are pretty down to earth about the possibilities of the band: growing organically, performing, improving and releasing some CD’s. They want to capture a place in the hearts of their fans.
Thanks Sarah, your contribution is more than welcome and I, along with the readers look forward to discovering more of your introductions.
Earlier on this year a group of experienced musicians – Tom Rhyland (Vocals), Dan Buckland (Guitar), Joe Southin (Organ / Piano), Nick Mailing (Bass) and Matt Banham (Drums) got together to form the Home Counties, loosely pivoted around Bedford in England, based melancholic-rock outfit The Passion Bearers.
The Passion Bearers
Like a drifting pall of fog The Passsion Bearers wrap the listener in an ethereal discombobulation.
The exemplary deployment of the keys to create the atmosphere, without taking over the mantelpiece, allows the quintet to produce music that resonates of turmoil, yet through the smartly composed and delivered constructs there is a vaguely burning candle to which the mind can fixate. A tumbling percussion bounces around in the background, giving the material a surprisingly spritely tilt, accompanied by a mesmeric droning bass, to which the guitar provides the narrative between the instrumental elements. Rounding off the sound is a gothic, half-spoken, ghostly vocal.
The Passion Bearers are a very welcome addition to the world of music and I look forward to getting to hear far more than the four tunes by which I have had the opportunity to be chilled.
Their début single The Hours is scheduled for official release on the 2nd of October and I am already hanging on the future releases by the quintet – A ‘must add to the collection’.