Black Yaya is a new singer-songwriter, although he’s not new to the world of singer-songwriters. Indeed, he used to write, record and perform under the name Herman Dune. After travelling the seven seas and beyond with Herman Dune and recording more than ten albums with that band, David Ivar, for it is he, decided he wanted to create something new, so Black Yaya was born.
Check out his fun track, 'Flying A Rocket' – you'll be hooked in no time at all!
As Tall As Trees' debut EP is self-released on Monday 24 November and available digitally via iTunes and on limited-edition vinyl. Produced by Junk Scientist at Brighton's Electric Studio and mixed by Sean Read at Famous House, Hackney, the EP features a guest appearance from Martin Rossiter (Gene) on piano, Rhodes, Wurlitzer, Mellotron and backing vox. Lead track 'The River' is accompanied by an animated video created by Stephen Smith. Check it below.
Pauma know that the finest pop songs are built on the simplest structures. It wouldn’t take a Royal Academy graduate to perfect the four-stop circular progression that forms the bedrock of ‘Sink Or Swim’, but these fellas dispatch it in a wilfully composed manner. From this locked-in phrase, cut from cavernous surf guitar and a laidback finger-clicking shimmy of a beat, rises a wounded baritone vocal, recalling such grandees of savvy Eighties croon as Ian McCulloch and Edwyn Collins. As the chorus blossoms, awash with reverb and fuzzy keys, the rather defeatist lyrical premise of “I Want To Give Up/Don’t Want To Give In” is a neat counterpoint to a stirring few bars of sound. Pauma’s silhouette-based promo photo, as spectral as the song’s outro, indicates that this London quartet wish to give off an enigmatic air prior to the release of their debut EP. But then a band that can pen stylish pop nuggets as catchy as this one don’t need to be a bunch of try-hards.
Pauma’s debut EP is out on 10 November
Words by Nick Mee: Follow @Nickjmee on Twitter
If you've just had a hard day's work and want to do nothing but just chill, then the best option is to sit back, relax and let the sweet sounds of Lomboy float right through you.
The band are based in Brussels. If you are wondering what Lomboy means, it's an evergreen tropical tree native to Southeast Asia.
"In the Chamber of Vanu" is out now on Philippine indie label Lilystars Records.
Enjoy and share if you like the track!
Arcollective share their debut animated video which is a masterpiece. To read on how the band have come to be check out their story below. Arcollective will play London on July 14th @ Birthdays and July 20th @ Brixton Windmill.
Acollective grew up making music together. In their teenage years, the story started in the way that many others do – with kids making a racket in their parents’ basement. It was an open forum to vent frustration. With no real intention of ever being a full time band, in truth only ever really aspiring to exist as a community of musicians, Acollective’s formative years were spent playing not in gig venues (who books a band that doesn’t have any songs?) but springing up at their own guerilla shows on the streets on their hometown, Tel-Aviv. Crowds started forming, more and more gatherings took place and, with a hook-up in the UK, the band’s first ever real tour was put together. In the confines of a London flat, the songs that would later become their debut album (2011’s ‘Onwards’) were penned and fine-tuned. After an unfortunate deportation saga, the band returned to Israel renewed, and full of purpose, ready to commit all they had learned to tape.
Onwards was released in 2011, produced by Chris Shaw, and cemented them as a band to believe in back in Israel – no small task, particularly for an indie band singing in English. Sold out tours around the country beckoned and it wasn’t long before they were playing international shows and festivals, at the likes of Glastonbury, YNOT, and SXSW.
Acollective will readily admit that the transition from basement dwelling art project to international performers, was
a little chaotic. They were their own label, their own management, press and booking agency, and it took time for the dust to settle, and for them to find their feet in making Onwards’ follow-up. Their experiences across the world had exposed them to plethora of differing cultures that they felt all needed documenting in some form.
So, surrounded by “a million different beeping things” the troupe locked themselves away in an old shoe factory and recorded what is now called Pangaea. In spite of all of the album’s intricacies, a priority for the band was to maintain the essence of their environment so everything was recorded live. The mere mention of influences is enough to spark bloody violence within the band. Ask them who they listen to and they’ll tell you Sufjan Stevens, Beck, Paul Simon and Radiohead. Delve a little deeper and you’ll learn about their love of everything from Dixie Jazz, Japanese Pop and old-school hip-hop to modern-Arab-kitsch. Perhaps unsurprisingly, this has meant that Pangaea has become, at its core, quite an unstable album – in keeping with the band’s own unstable creative process. But let it not be said that it isn’t cohesive. As the band’s leader, Idan Rabinovici cryptically offers; “You must keep dancing even if the ground around you is shaking, safe in the belief that things must break apart and shatter in order to reconnect again.” Going on to talk about the album’s lead single ‘OTM’, he says; “It’s a celebration of being left behind, of being insulated from the outside world but deeply affected at the same time - in a state of perpetual limbo. Nothing is more dangerous than staying put, and nothing is more heartbreaking than running away.”
It’s a statement like that, that sets the tone of the album. Pangaea is worldly and wonky, caustic and cohesive, mellow and marauding in equal measure. Acollective could be one of 2014’s most interesting propositions.
This gratifying release is the debut single from Northern American, who, unlike Of Montreal, perhaps, or Beirut, ain’t lying: they do indeed hail from where their name suggests, Los Angeles to be exact. And there’s a distinctly Californian dreaminess to ‘Wander’, a tune whose joker is its beautiful, trembling guitar refrain, a shimmering two-chord euphonic swarm that floats above a loping rhythmic march punctuated by a prominent snare shuffle. Meanwhile, singer Nate Paul’s sweetly judged insouciance stokes a gracefully descending chorus hook. Everything here, from the piano glissando to the faraway-siren-like intro has space to kick back and radiate, with the exception of the curious bridge, where the band seem to be testing out the percussive merits of a complete set of kitchen utensils. This superfluous interruption aside, ‘Wander’ is sufficiently lustrous to combat the fiercest January bluster. They could use it in the States right now. Fire it up and glow.
Wander is released on 20 January on Heist or Hit Records.
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The Lunchtime Sardine Club recently grabbed the attention of Amazing Radio with the first single “Rumours” and also featured on a Big Scary Monsters best of... compilation earlier this year. With the sound branded as “a happier Elliott Smith circa 1998” by Brighton Noise, The Lunchtime Sardine Club’s Icecapades is the perfect concoction of Elliott Smith’s storytelling style and Grizzly Bear’s lo-fi folk.
Live Dates: Servants Jazz Quarters Oct 22nd - More info
These ultra cool producer duo H A R T E B E E S T chose to leave London to return to their native island, where they found their voice living in isolation. The result was analogue synth laden hooks and R’n’B falsetto vocals follow minimal hip-hop beats and dreamy guitar landscapes. The result is a breath taking adulterate that is both nostalgic and contemporary.
What the Press already have to say "H A R T E B E E S T are going to immediately impress you" - Hilly Dilly "Melodramatic yet undeniably catchy, ‘death.’ is certainly reason enough to keep an eye on the development of H A R T E B E E S T" - Crack In The Road
Check out their debut single Death
Three years ago Max Bianco (vocals, guitar, harmonica and percussion), Dali (vocals, guitar, slide guitar and percussion), Al Devon (vocals, guitar and percussion), Richie Docherty (vocals, guitar and percussion), Chris Hooks (vocals and lead guitar), Keith Wilkinson (bass and vocals) and Kerry Edwards (cajon) gave life to a collective of musicians called The Jar Family. The name comes from the jar where the band used to collect money at the end of every performance, just to give the final amount to the member of the band who needed it the most.
These independent musicians and songwriters got together mainly to escape the greyness of Hearthpool – their hometown – they all brought something personal and unique that led to forge a sound the band dubbed Industrial Folk a harsh mix of blues, folk, and why not a little bit of country. Two years after their first album The Jar Family Album, the band is about to release their second full length record Jarmalade, be ready to be mesmerized by an impressive ensemble of songs that will drag you on a travel that crosses several music genres, the main element in common is the superb level of their lyrics.
Folk is everywhere and to make a difference artists need something to stand out from the crowd; Robbie Boyd grew up listening at the classic songwriters that rockers keep dearly to their hearts Bob Dylan, Paul Simon and, of course, The Beatles. To this exceptional background, Boyd added his peculiar fusion of pop and folk with hints of blues and jazz now and then, just to make things more interesting. He is supported by his energetic and enthusiastic band made up by Adam Fletcher (keyboard and vocals), Hew Benyon (drums), Simon Fitzpatrick (bass), Mared Evans (violin and vocals), Russel Smith (mandolin and electric guitar), Mike Newman (trumpet, percussions and vocals) and Cat Marshall (saxophone and clarinet).
He started busking and became a major hit on youtube with 500.000 subscribers to his channel; he just released his third EP Painted Sky comprehensive of four tracks. Boyd has the talent to create ships that will gently carry you in his world, it's not only about the music; sound and words melt together and give life to a magical atmosphere. He's appealing not exclusively to a young audience, seniors and middle-aged people have been spotted at his crammed live performances.
I first stumbled across jazz/soul diva Louise Golbey back in 2008 whilst playing a gig in Kentish Town. I had just finished destroying everyone’s faith in live music when, up next on stage, stepped the modest and smiley figure that was Louise Golbey. In a flash the crowd was quiet. Their ears and attention engaged by this little piano-playing brunette who sat before them. No drunken shouts. No shuffling of feet. No whispered conversations. Just the rich, soulful vocals of a little lady from Bournemouth. Job done, faith restored.
Where as since those heady days my career has coughed and spluttered into oblivion, Louise’s career has – as expected - gone from strength to strength. She frequently performs (now with full band) on the live soul/jazz circuit, playing regularly at many legendary venues (Ronnie Scotts, The Hippodrome, The Jazz Café), has worked on tracks with Example and The Newham Generals and supported and shared the stage with a number of acclaimed artists including Jessie J, Paloma Faith, Katy B, Mikill Pane, Lianne La Havas, Ryan Keen and Anthony David (at both Bush Hall and Islington Assembly). Believe me, the CV is bigger than this, but I couldn’t fit it all in. I haven’t even mentioned she’s played both Glastonbury and Isle of Wight (he has now!).
Not bad for someone who isn’t a household name. I get the feeling that LG is one song away from being thrust into all our lives.
So if you’re a soulster, have jazz tendencies, or perhaps even a sucker for real singing voices, then Louise Golbey is definitely someone worth checking out. For gig information visit her site here. You can also buy her music on iTunes
Check out Louise’s new video ‘Up To Me’
It's refreshing to hear such talent come from a band when they ask you for a gig. The answer to Tandem was yes and this is a band you should defiantly come and watch as it's stunning!
Their music is a blend of traditionally inspired, contemporary fiddle and guitar duo, with electronic injection. Their Debut album 'From Good Stock' was released June 2013. Tandem are Dave Malkin, Charlie Pell and Ben Corrigan.
Enjoy and please do share this great new band!
Hana B are an Italian London-based band, the members – Fab Vitale (vocals), Valerio Morrone (drums), Francesco Menegat (bass) and Alessandro Ciani (guitars) – met in early 2000 and have recorded three albums since; their latest work Doors is scheduled to be released in September. Their roots spread all over the genres: Radiohead, Neil Young and Leonard Cohen, Bon Iver, Marvin Gaye. And a little bit of Coltrane are the main names in a long list of influences and preferences. Since their first album they have been supported by the Italian independent studio Operà Music.
Their third record sees a prominent electronic vein, a different ethics that led the band to entrust the video of their first single Merry-go-round to their friend Eleonora Mignoli because – as Francesco Menegat explained – they're trying to create a Hana B experience made up by music, words and images. The first single Merry-go-round and its b side Hole in my soul are built on a solid rock base where electronic effects cling on the walls of the songs and pulsed beats, aggressive riffs and a hoarse voice make an exciting preview of what we can expect from the upcoming album.
Checkout their current video Merry-go-round
Singer songwriter Adele Emmas and guitarist Sian Williams met in late 2000 and, over their mutual love for artists such as Leonard Cohen, Kate Bush and The Cocteau Twins a decision was made to found the band Bird. The quartet is completed with drummer Alexis Samta and Mike Bennet at the keyboards.
The band signed with Jack to Phono Records and launched their first EP ‘Shadows’ in 2012. Their second, ‘Ophelia’, was released in February and they're working on their first full length album.
Bird have gained a strong and solid fan-base as well as praise from eminent voices of the music industry. Winning ingredients of their project are Adele's hypnotic voice, dreamlike lyrics and melodies that will capture your heart with their fusion of tribal, folk and classic beat.
Their songs manage to create an atmosphere like a Grimm's tale. You think you're reading an innocent and innocuous bedtime story but a moment later you're shifted in a thick and dark wood. You excitedly feel lost and attracted by the danger hidden in the dark.
Although London based the band's international membership hails from England, Ireland and Chile. Their initial demos were recorded simultaneously on both sides of the Atlantic in a 24 hour cycle between London and California.
The band kicked off the New Year in California, USA with shows across the west coast and to complete the recording of their first full length album "Life among Wolves" (set for release Summer 2013), followed by headline shows and various tours and festival appearances across the US, UK and Ireland.
Here's what the press have to say
"Go Tell The Eskimo creates totally magical indie pop that will make your ears rejoice" Tobi Lynn 98.7 Los Angeles
Armed with articulate analogue sounds and upbeat indie anthems, GTTE comfortably blend exciting rock & roll elements with a pop-centric demeanour that can only be described as Go Tell The Eskimo! This can be heard throughout their EP and in the début single “When The Lights Go Out” (officially released November 20th 2012). Along with the local support from the BBC and national Radio the band is catching the attention of audiences across their native UK thanks to their unique brand of eccentric indie rock.
"Smoke Signals" the EP, recorded and produced between Los Angeles and London, was released through Red Parade Music owned by producer Jim Roach (The Young Romans, Skyler Stonestreet, Jesse Thomas).
"The entire three song EP called "Smoke Signals" is beautifully layered - from gritty garage rock to jangly 60's inspired orchestral pop - these songs will become the soundtrack to your happiest daydreams!" Tob Lynn on-air personality and live performance host at 98.7FM-LA
The 150 Friends Club is the latest project from David Goo - his 'second feature' so to speak - and could be described as the Variety Band's uglier and more peculiar sister. Based on the Dunbar Theory that society works best in numbers of 150, the band plays what they call 'intimate, intense rock things' designed for no more and no less than a hundred and fifty people at a time.
Their first recording is their answer to the sixties song 'I Know Something About Love' and was recorded at Intimate Studios, live in the same room, second take, with overdubs. Mixed by Oliver Price at his home and mastered by Tim Debney at Fluid Mastering.
Mariya Brachkova - vocals Charlie Coulson Smith - Bass Oliver Dacombe - Drums David Goo - Vocals/guitars
Check out their current single I Know Nothing (About Love)
It’s taken some time for Landshapes to find their feet in the music they make.
As their previous incarnation Lulu and the Lampshades, they’re probably best known for the viral cup song You’re Gonna Miss Me - over 3 million hits on youtube and counting - but in the ensuing period they’ve undergone a considerable musical metamorphosis.
They have learnt and grown together, four distinctive personalities jostling and pulling, each with their own set of influences and sensibilities - an unlikely alchemy which comes together and makes sense. Broad brushstrokes, big sounds and mournful melodies forged a new soundscape, so that when a typo accidentally billed them as ‘Landshapes’ it seemed an appropriate description for an altogether new sound, and an altogether new band.
Landshapes is the sound of four people in a dingy practice room, building on accidents, listening over and reworking obsessively until every band member is satisfied. An unconventional and serendipitous a process it might be, but it’s crucial to Landshapes overall sound.
Their debut album Rambutan - the name chosen “not so much after the fruit but for the sound the word makes” and produced by Ash Workman is a distillation of songs old and new, re-worked and fine tuned with a deft precision.
In Limbo with it’s stunning video clip proves a triumphant opening salvo. “It’s always felt like a fighting song both musically and lyrically” says Luisa Gerstein. With images of Bolivia’s Cholita female wrestlers proving a major stimulus whilst recording, Luisa sought them out, travelling to La Paz and teaming up with director Ian ?. The resulting film is a dignified response to a “Latin American society where being both indigenous and a woman is a double sub-class” - a celebration of these extraordinary women both in and out of the wrestling ring.
Their unorthodox approach to songwriting is writ large across the ten tracks. Impasse “the oldest song on the record was a tinkery ukulele thing” that became something “bigger and better with the band”; Threads “a lot of ideas that came together in the practice room, has the feel of different parts interjecting like a conversation” and Racehorses “a truculent song” that was to become one of their favourites after Heloise and Jemma developed a new bass and guitar part. Demons acts as a marker of their evolution - “recorded as Lulu And The Lampshades, it felt closer to the sound we were developing and tracks that change in the way it sounds and how we worked together as a band.”
Forthcoming single Insomniacs Club “is cursed” according to the band. “Anyone who gets involved with it gets insomnia. The guy making the video hasn’t slept for days, true story.”
Landshapes take on another dimension in a live setting. With drummer Dan the only constant, multi instrumentalists Luisa, Heloise and Jemma shift seamlessly from one song to the next swapping instruments and vocals with a fluid dexterity.
Check out their track In Limbo