From the war-zone of Luhansk in Ukraine Anton Cherednychenko (Vocals / Guitar / Synth), Nikita Voloshanovsky (Drums / Synth) and Dima Walewski (Bass) still manage to release music in the form of the synth-rock out-fit Seven Waves.
There is a surprising warmth that emerges from the speakers as Seven Waves reflect of turmoil not in angst, rather in considered contemplation of the rocket blasted buildings in their surrounding perimeters. The electronic kit allows the duo to provide the audience with shimmering stacks of Cumulonimbus cloud which drift across the room drafted with inner turmoil.
An ever present percussion taps across the ears like a sentry on duty, whilst guitars hum in the background as a vocal spears to anxious upper notes and Seven Waves utilise the synths to paint the imagery of the thoughts offered.
Formed back in 2013 with the idea of extracting cohesion betwixt division Seven Waves found themselves torn asunder by the bullets flying and the members segregated to slightly more hospitable climes, before facing the reality of staying alive was the challenge and finalised their first EP.
Now set to work on a second EP for our consideration. Those of longer stay will recall from 2010 an Afghani trio – Kabul Dreams – who are still able to navigated a path of war-zone. Of less certainty is D.J. Foundation from Mosul in Iraq who is now presumed dead after a year of no contact by anyone.
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Victories at Sea from Birmingham in England is the synth-rock trio of John-Paul (Vocals / Guitar), Steve (Bass / Keys) and Rob (Drums).
Victories At Sea
The combinations of strings, natural percussion and electronics which is tipped by a plaintive vocal that gives Victories At Sea a surprisingly organic reflective that fleetingly whirls around the room before disappearing akin to a stream of smoke.
The trio caress the listener with silk gloves that tease the head in gentle touches. Victories At Sea deliver music which has a rhythm that pulsates as by osmosis inside the body and the audience becomes part of the music as it kneads the cortex into reveries of fusion.
Experienced musicians with approaching half a decade together, the progression of Victories At Sea thus far has been somewhat pedestrian. As I have noted many times this past year the use of analogue-synth is an ever more prevalent part of the UK music scene and I can only hope they will find that their training will now allow them the opportunity to maximise on the crest of a wave that currently flows.
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Kármán Line from London in England is the synth-rock band of Maja Slatinsek (Vocals / Synth), Ryan Small (Guitar / Synth), Dan Gaylard (Bass /Synth) and Sean Crossan (Drums).
Coexisting inside flowing tracks, lay electro-pop and rock influences as Kármán Line provide the audience with sounds that remind of glowing embers with the gently warming tones.
The easy rolling pieces wrap themselves around the ears as the synths are allowed spacious expanses in which develop, whilst the instrumentation keeps the sounds on an even keel. Kármán Line have balanced the combinations between exploratory electronics and arrow precision bass / percussion to deliver music which has many layers for the listener to enjoy. I haven’t thus far mentioned the vocal, which is the ingredient that, strangely, adds an ethereal feel to the over-all output.
An engrossing three track eponymous single which came out at the end of last year, sadly, hasn’t so far given Kármán Line the increased visibility they deserve. I look forward to hearing more of the quartet over the coming months and wish them every success.
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Kármán Line EP – Kármán Line is available on iTunes*.
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Sometimes a band name makes perfect sense – Stegall is the synth-rock trio of three sisters of the eponymous surname – Clara (vocals), Sydney (guitar) and Liza (keyboards) from London in Canada.
Hitting the ground running, having formed recently, Stegall offer music which resonates of their upbringing which saw them move across swathes of The USA and the music provides an inclusive international quality. Light on the feet, they are not trying to recreate the wheel, rather add embellishments to a genre and this they do with some style.
A delightful bass sweeps along the music and the percussion is thoughtfully programmed allowing the vocals and tonality to hold the attention of the audience as Stegall showcase their compositions which belies the age of the band.
Having spent considerable energy in getting the on-line and visual elements right, they have also recently released their perhaps appropriately named début EP IV, which evidences these are more than glossy marketers. As a template for new bands Stegall are stellar examples.
The next step will be to see how this transposes to a live environment and they are booked for a tour in Eastern Canada later this year. I look forward to catching up with Stegall later in the year to see how it is all developing. For now, well worth catching at the start of what has the foundations for a promising career.
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