The US new-romantics outfit Night Drive released the single Anyone’s Ghost on the 12th.
Night Drive – photo by Brian Gray Photography
Transporting the listener back to the early ’80s with the follow-up to their eponymous and début LP of last year, Night Drive in Anyone’s Ghost (which is available on bandcamp) fill the room with luscious threads of silky synth with the delayed vocal dissolving in to cascading echoes as the drums can be felt taking over the pace of the heart and the listener finds themselves unwittingly rolling their body in syncopated waves.
Their music is always heart-warming and can be brought out at any party to keep the good vibes flowing long in to the dawn-light and it is of no surprise they are fast gaining traction.
Surfacing, ironically, from Providence in the USA is the new-romantics trio of Derek Knox (Guitar / Keys / Vocals), Anna Wingfield (Drums) and Nick Sadler (Bass) who form WAY OUT.
Unlike the prissy sounding name of their homestead – WAY OUT, as their name suggests, are a band to take with you on a night of debauchery as they stretch their loins for all to enjoy. Minding of British synth bands of the early ’80s with a dip of the quill towards the burlesque underground clubs of the same era in Berlin, Germany, the trio do more than sound like a retrospective reflection of that which preceded thirty odd years ago – rather a unit to take today to a party of intertwining oiled bodies.
With very little to hear despite a concept dating back to 2012, there is only a sadness that there is so little to share with you as it was only in early 2015 that the core of the kernel came together and like all good vines time is needed for growth.
The music resonates of the deepest repressed desires of the mind which they bring to light with profferings of a virtual-space sex-box as they implicitly triage the audience from those of vanilla taste to those to allow into the dungeon.
The dank canvass of vocal pastes a candle-lit entrance to the cellar of sado-masochism as the flickering guitar lashes the visitor with urging welts and the bass ties the limbs whilst the percussion – like a dominatrix – treatises of pleasures to come.
The only recorded material available is the WAY OUT eponymous four track EP from last year (available on bandcamp) from which I have selected No Release as a taster.
My one wish – there was more with which to be toyed.
The Capture Effect is the synth-indie quartet of Iain Littlemore (Guitar / Vocals), Adam Parr (Guitar / Keyboard), Andy Malliff (Bass / Samples) and Stuart Roberts (drums) from London in England.
The Capture Effect – Frequencies – artwork
Formed in the middle of 2014 The Capture Effect have quickly established a working relationship, providing material that belies their longevity. Combinations of demonstrative percussion and flowing electronics are joined by fluid guitar and punchy bass in a cohesion which threads its way around the room with some aplomb to the accompaniment of an expressive vocal that lays out the story-line.
Lyrics which reflect of current social disquiet are melded with a soundtrack of new romanticism diced with rock, giving The Capture Effect its confident poise. They are not confined by reference points, utilising techniques and equipment of the ’10s to update the sounds without loosing the inheritance.
Of particular pleasure is the way that The Capture Effect have been able to create easily accessible music, that has not lost any sense of the genuine thought process in song writing, through to the final delivery, allowing them potentially a wide spread of audience.
Establishing themselves a wide geographic area of gigs in the UK, it should, if justice is served, only be a short-while before the quartet find themselves appearing internationally. The release of their début EP – Frequencies on the 23rd, certainly won’t hurt their progress.