Surfacing from Port Saint Lucie in the USA are Brendan Lis (Bass / Guitar / Theremin), Bryn DeHass (Vocals / Sampler / Synths), Michael Sapienza (Guitar / Bass / Percussion), Matt Yuscavage (Drums) and Steve Folimer (Guitar) who form the psychedelic-garage band Weird Adults.
The munificence of instruments are not deployed by Weird Adults to create volume, rather contortions of complex textures, in what is a relatively new outfit who are still looking forward to their first birthday. Still finding their feet in their musical journey, they afford the audience with a plethora of ideas in their currently available fourteen tracks.
Firmly ensconced around a sound that requires a sip of mushroom tea to fully engage with the quintet who take the listener on a magical carpet ride of undulations and paroxysms of writhing limbs that disport around the room.
Ten of the songs have been put together to form what is essentially a concept LP – Pet Without A Face, whilst Weird Adults discover their métier. There is nothing to not enjoy in the output and only more to look forward to hearing and I wish them every success with their journey and without desirous to put any bait on which to feed – I do like the song Fake Sleeping.
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COLIC is the lo-fi-gaze duo of Jimmy Turner and Meghann Dyke recently relocated from Charlotte to San Diego, both, in the USA.
Sallow melodies thread across the room as though ashamed to make an entrance as COLIC deliver music of the browbeaten realities of the 99% who are expected to aspire to their ‘betters’. Inside the fluctuating gait lies a steely resistance that gives the material its mettle which camouflaged by the rubbery texture will spike a shank into the unwary.
One can’t but draw reference to Winston Smith and Julia to extract the juices of the music as the trysts of inter-woven layering become ever more brazen the more that is heard and one is only searching for the LP named Room 101 to reach the anticipated inevitable conclusion. With some fortune COLIC have escaped the outer-reaches of the KKK in North Carolina and now find themselves ensconced outside WASP territory and safely landed in the relative sanctuary of the State of California and the listener can imagine a less toxic ending to 1984 in an environment in which they can flourish.
I look forward to discovering more of COLIC, who despite having only been in existence for less than six months have managed to release twice that many tracks – all of which are available on bandcamp.
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KEI (Vocals), Shoyū (Drums) and Kanvis (Bass) from Cincinnati in the USA are the triangular-metal band NIL x NOIR.
NIL x NOIR
Webbed spells of sound pour into the room akin to the The Weyward Sisters of Shakespeare’s Macbeth and similarly reflect as witness statements to darkness, chaos and conflict, in the world around.
The dramatic reaches of – both throaty and floaty vocal surrounded by equally flighty bass which at one moment is drilling into the concrete, the next crooning strokes to the ear, is not disfigured by a guitar that may slide from gentle caress to a barrier of sound in a chord whilst drum kit spreads from battered skins to teased steel – allow NIL x NOIR to deliver their construct of how they find in their lives which careens between calmness and buffeting storm.
It is their ability to reconstruct the deconstruction of societal ties that gives their brooding menacing sound such particular relevance and adds much to the world of musical commentary of the realities of life, rather then the temerity of existence.
A couple of releases behind them – each occurring in May, a year apart discovers this year in THE WORLD IS IN CHAOS (available on bandcamp) – NIL x NOIR have refined their shadowy presence by slowing down the pace and discarding the vocoder and electronics to deliver a soundtrack for the ’10s that needs to be preserved in aspic for future generations. My only wish, inevitably, is that the unnecessary capitalisation disappeared as I can’t see it does anything other than detract from the impact of the material and seems a little childish. Though as you know I equally find irrelevant exclamation marks which remind me of children stomping their feet in the playground, detracting from the impact of what may have been a relevant sentence and most certainly not enhancing, ergo becoming nothing more than an irritation diminishing the core message.
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Caleb Lemond is a dub-reggae creator from Pittsburgh in the USA.
With only a few tracks to take a listen to, Caleb Lemond is of third generation dub with the infusions of the genre which has always been a little ahead of the curve of spin-offs from which much else takes its indicator – lays out a tasty treat of street and club music to come.
Trippy EDM spires across the room in a sound that rather than finding the listener with clenched jaw discovers them with flexing toes and the hip-hop tracts are not of confrontational conceit, rather reminiscent of a playful vocal vogue as the steadfast banner of reggae beat strides with flag waving around the room drawing all behind it.
With a certain degree of unerring reference point, as a regular reader you will anticipate, despite what is written previously I have to select a track which reflects merely subtly of what is described. However – Steel Drums do demand a showcase and so I select Mr. And Mrs. Lannister to share with you as an introduction of the music by Caleb Lemond who I hope keeps throwing out ideas, as those thoughts have much to add to world of music.
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Eve Bates (Accordion / Synth / Vocals), Ellen LaVeyra (Drums / Vocals) and Zane Van Dusen (Bass / Guitar / Vocals) from Brooklyn in the USA combine to form the no-wave band Mindtroll.
The best way to approach Mindtroll is to suspend all preconceptions and be prepared for a journey that will have you: Smiling; dancing; clapping and sometimes totally bemused, but ever intrigued. With material dating back a few years they have become supremely confident in laying out their ideas, which are always different and given there is an extensive track list in the catalogue is some mean feat and as importantly it is evident they are enjoying what they are doing.
The music skips around the room as-though a skimming stone bouncing across water and always sounding on the verge of fragmenting into smithereens like a broken glass. Mindtroll deliver music which does exactly as suggested by the band name with intense conversations being interjected by abstract flights of fancy and the whole thread of thought is thrown into confusion unsure whether to react to the interloper or ignore it completely. The disparity of completely unrelated instrumentation adds to this sense of hiatus, the one constant being a drum on tight skins which gives the material its infectious irresistible impressionability on the mind.
These are a group of talented musicians who are able to take the audience on their flights of fancy and rather than the passengers asking be let off the buffeting ride, request a journey extension.
From their latest LP – So Many Boyfriends which was recorded on an 8 track portable recorder as moment took fancy, warts and all, (available on bandcamp) Your Party Is OK – which is not ‘representative’ of their music as there is no such thing.
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