Pale Green Things an alt-indie vehicle from Macclesfield in England is the songwriter Jack Traynor.
Pale Green Things
On hitting play I was reminded of Cosmo Jarvis so how could I not be intrigued. An easy flowing sound ripples around the room as acoustics and electronics melt one into the other. It is interesting how outfits which are so easily dismissed as novelty acts by many often have far more musical ability and things to say than so called mainstream acts and Pale Green Things is a fine example.
It is perhaps that these creators have absolute confidence in what they are doing and approach their music in a carefree style which oozes out of the tracks. The audience isn’t under pressure to be impressed by a granite faced creator and neither does the act feel pressure to meet any expectation. This is a sound that can be taken as a light-hearted party sound or considered as music with something to say and it works on both levels.
A new release is planned for the 20th January and I hope there will be more in short order. Long may the world of music be filled with acts such as Pale Green Things.
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Graveyard Love is the alt-electro vehicle for Hamish Black from Auckland in New Zealand to deliver his perspective of the angsts and travails of life.
The material encapsulates the imagery Graveyard Love is seeking to excoriate. Blending electro-pop and industrial distortion there is a bleak isolation to the sounds, whilst simultaneously the listener is given the sense of lancing a festering wound as the extrapolation of the music whilst bleak has an under-current of hope, which for its very opaqueness shines brightly in the minds-eye.
Given my regular comments that a song should be over in three minutes, it may come as a surprise that even getting towards four minutes on the longer tracks I just wish they were longer, as like a good scratch, there is a need to have just one more go and so it is with the music which burrows away into the head.
Whilst there is some evidence of samples on some tracks it is in the main fresh and well written original music which Graveyard Love bends to creative the brooding atmospherics.
Another fine introduction through Monkey Records.
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Hemlock Shaw from New York in the USA is the experimental songwriter Henry Schiller.
Stretching threads of sounds like a spider spinning a web, the material becomes ever more complex and variable and this is one of those occasions that the longer the track runs the more it benefits.
Whilst there are understandable blocks, it is as the music extends that the interplay becomes more intricate, with each seemingly disparate element sliding into the scene and the listener is left with a sense of perplexity as to how it all expands to fill the head with flashes of imagery.
Hemlock Shaw is not seeking to alienate, neither is he attempting to befriend, rather deliver material that stirs each individuals imagination, it is however challenging the listener to slough off preconceptions and expectations whilst allowing themselves the time to let their mind wander.
It was over six months ago that I received the introduction and once again with fortuitous timing Hemlock Shaw is in the process of releasing a new EP in the next couple of months. I have had the opportunity to listen to one of the tracks from the forthcoming release and I can assure you that Henry hasn’t suddenly found the mainstream.
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Lael Summer is a soul singer / song writer from New York in the USA with a new twelve track LP – Burden To Bear – set for official release on the 21st January 2014.
This marks the first time for the various sites over the past four and a half years of reviews that a second generation has been introduced as Lael is the daughter of Marla Mase who was first introduced back in December 2010.
This has been a long delayed introduction and one I am pleased to be able to rectify as Lael brings to life, with a punchy and gritty, a style and genre which regularly sits as nothing more than wall-paper music.
Reflecting on some aspects of her life Lael offers thoughts of some of the darker inward perspectives and insecurities. Whilst there are many singers and musicians who also do this, they often sit subsumed within a band. Here there is the voice alone on which the mind focuses. Not only does the material offer insight it also works as the voice is able to carry it off, as that is where the spotlight lays. I raise my hat to Lael for being able to deliver her thoughts emotively and in a manner which engages the listener.
The LP, which I don’t intend to review track by track, provides approaching fifty minutes of heart-felt outpouring, traversing through R&B, Soul Funk and Bossa Nova.
I wish Lael Summer every success with the release of Burden To Bear and her future career.
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Garry Pitcairn is vehicle for the singer / songwriter / multi instrumentalist Gabriele Maruti from Milan in Italy to expose an avenue of symbolic rock, with Steve Lions on drums.
Step back from the freneticism of the day and settle back for an engaging ride with Garry Pitcairn. Metaphors abound in the visual contextualisations that drift across the floor before rising in a haze of a delayed smoke bomb and the listener is suddenly enveloped in a mist of languid tumerity, such are the paroxysms of the music.
A diversity of subsumed instrumentals are proffered to the ears, each melting into the next and it is only after a moment under the anaesthetic that the audience finds they are transfixed in an array of textures. There is a vocal context, however that too is fluxed inside the landscape, this is music to enjoy for its evocatism.
If none of the above helped – think melting chocolate infused with cream – luxuriant in the extreme.
I thank Sefano of Danza Records for putting up with my vitriol over his emails introducing Garry Pitcairn – hey I even managed to argue over the population of The Pitcairns, which perhaps is an indicator of how a band speaking to me directly will get a better response than an intermediary with a ‘cut and paste’ press release gumph.
Most importantly – a delightful score I recommend spending some time to enjoy.
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