"...a sharp set of nostalgic, melancholic, dreamy indie-pop." --KEXP
“...drenched in nostalgia...a driving, forward leap into a hazy and wishful landscape.” --Glasse Factory
Presenting us with fuzzy guitar tones and poised vocals, Early Internet invites us into their own unique aural landscape on Ruminator. Containing eight tracks of compact indie rock in the sonic realm of artists such as Bombay Bicycle Club, Day Wave, and Hazel English, the new album is perfect for a relaxed sunny afternoon. With themes throughout that focus on ruminating fears, anxieties, and the ways in which to cope with them, Ruminator is a cathartic experience for those relating to it. Ruminator is set to be released on May 17th.
Join us on this latest episode of ifitbeyourwill podcast where we chat with Sam and Kat of the band Holiday Ghosts. We delve into the band's origins, musical evolution, and their latest album "Coat of Arms." We'll also hear about their upcoming European tour and the influence of various music scenes on their sound. Buckle up for a wonderful and playful discussion about their creative process, life updates, and a whole lot of appreciation for Brighton's music scene. Enjoy 🎙️
In the five years since she began, Layla has won adoration for her melodic, confessional songs, which go down ever-so-sweetly and save the unmistakable bite of entirely relatable truths. Her latest EP, unreleased demos II, nudges that ethos into an even more meaningful place.
“I’m just making music that feels super authentic to me,” says Layla. “I mean, I’ve always done that. But this time really does feel special.”
Mayday presents an even more syncretic fusion of the elements Myriam uses to create her sound. Most of the songs are original, sung in both English and French, and they blend traditional and avant elements with abandon. She is often accompanied on this album by the guitarist Marisa Anderson and drummer Jim White (Dirty Three), whose work provides a quietly aggressive sort of free-rock base.
Serving as the album’s lead single, ‘Boom Boom Back’ the breezy track features a crisp guitar riff with the duo – Carlotta Cosials and Ana Perrote – and Beck asks “If you wanna fall in love in a bar tonight / Do you wanna fall in love with a broken heart? / Do you wanna ride? Ride in my Mirage? / Do you wanna be the one that feels the “Boom-Boom” back?” NME
Canadian singer and songwriter ANNABEL GUTHERZ‘s latest single, ‘Shame,’is an open-hearted single about acknowledging and overcoming relationship insecurities. Underscored by full-bodied instrumentation, Annabel wields her sharp lyricism and sonorous vocals to explore anxiety, comparison, and self-doubt.
She elaborates, “‘Shame’ is about the ruminations that can arise about your partner’s former relationships and the invasive fears that often emerge as a result.” NLM
The Los Angeles based duo became quick friends on overlapping tours, sharing both a drive to push the sonic possibilities of their instruments and roots in North Carolina. Mary Lattimore and Walt McClements debut collaboration Rain on the Road blossomed out of that time spent on the road together, capturing the liminal existence of touring life in deeply cinematic compositions.
On today’s episode we welcome musician Amy O. Join us as we delve into Amy's formative years, her innovative songwriting endeavours, and her inspiring work with Girls Rock camps. Discover how Amy navigates creativity amidst motherhood and a pandemic, culminating in the release of her reflective and contemplative album. With candid conversations and insightful reflections, this podcast offers a compelling glimpse into Amy's artistry and her unwavering commitment to nurturing creativity in young women. Tune in for a captivating blend of music, storytelling, and personal anecdotes, as we invite you on an unforgettable journey through the heart of music-making. Enjoy 🎙️
Amy O’s homemade pop songs sparkle with these eternal truths: that story-telling is part of being alive, and excavating the past is part of growth. Amy O started as the solo project of Amy Oelsner in 2004 and has evolved over the years with a rotating cast of band members. For show updates and more, join Amy's newsletter: forms.gle/YfaPec82rhaP8yVb9
Kee Avil labels her music “folk” and, in doing so, challenges the framework of a genre synonymous with tradition. The Montréal singer and multi-instrumentalist has an impressive command over the guitar, which she underlines with unsettling electronics and piano. The end result basks in crinkly murk, the spell occasionally broken by a splash of crystalline fretwork or a bout of impassioned bellowing. Her full-length debut, 2022’s Constellation-issued Crease, melded post-punk, ambient, and experimental textures, hitting like a zap of static from a dark gray blanket. Kee Avil’s new album, Spine, leans further into thorny minimalism. It’s her most tingly and complex body of work to date. bandcamp album of the day
The new record leans into a raw pop-punk power-trio sound more than ever, with a deep growl in layered guitars and bursts of percussion and harmony. The songs and artwork explore themes about finding a place for yourself and familiarity with people and places. Although it turns back towards a classic three-piece sound, the band weren’t restricted by that palette, adding finishing touches of percussion, extra guitars and backing vocals in short bursts in a garden shed, and also bringing in gorgeous strings to sweeten the title track.
Organized by HATETOQUIT and Brooklyn band Hiding Places, Merciless Accelerating Rhythms: Artists United for a Free Palestine features 55 contributions from artists across the U.S. and U.K., spanning genres from Ambient Electronic to Jazz.
All proceeds from sales of this compilation will be donated directly to Palestine Children’s Relief Fund (PCRF) and Palestine Legal.
Based on anti-apartheid artist, leader and poet, June Jordan’s poem, “I Must Become A Menace to My Enemies,” dedicated by Jordan to Agostinho Neto, former President of The People’s Republic of Angola, the album’s title “Merciless Accelerating Rhythms” encapsulates a form of political organizing beyond “walking politely on the pavements,” and emphasizes “becom[ing] the action of [our] fate,” acting in a form of “retaliation.”
"The song is a middle finger and a farewell to all of the shit that no longer serves me — including the people who have occupied space in my life undeservingly at times.” - Logan Lynn
The band's musical touchstones are squarely situated in the timeline of doomed Thatcherism that followed from the late '70s to late '80s. "Wish You Were Here" and "The Iron That Never Swung" jangle with a razor-edged rapid strum to rival The Wedding Present; "That's Him on the Daft Stuff Again" and "Travel Agent's Windows" nod to the Television Personalities' naive, kaleidoscopic mod melodies streaked with cynicism; "Steven Proctor Bus Conductor" slowly unfolds from verses in the dark, rhythm-forward spirit of Josef K to transcendently Pastels-esque pop choruses with sugary-sweet backing vocals from bassist Lauren Matsui. Perfect C86 sounds for often hellish C24 times! - Erika Elizabeth
Hey everyone, welcome back to ifitbeyourwill Podcast. On this episode, we're getting down and dirty with the nitty-gritty of record making with our buddy James Hoare (Veronica Falls, The Proper Ornaments and Ultimate Painting). You might know him from Penny Arcade, and guess what? They've got a brand new record coming out, Backwater Collage (May 3rd)! We're gonna be chatting about the wild ride that went into making it, from finding drummers (apparently that's hard?) to the age-old battle between analog and digital recording. Plus, James is gonna fill us in on all his upcoming projects, including shows, a move to Brussels, and you guessed it, more music! Buckle up, music lovers, this is gonna be a fun one 🎙️
For this dreamy, hand-stitched record, Hoare has taken his time. Maybe because he had to rescue his songs from various recording sessions tinged with a number of mishaps he amusedly admits he is accustomed to: broken multitracks, failing tape machines, rarely available drummers living in the capital. The eleven intimate and solitary songs which make up the album, delivered in the greatest home recording tradition, are nonetheless cautiously produced. James unfurls pure, uncluttered melodies in which his gentle, melancholic voice mingles with smooth, warm vocals by Nathalia Bruno. Barely saturated guitar solos sometimes disrupt the clear, unpolished musical line. Hopping onboard, longtime friend Max Claps has added keyboard parts which manage to embrace the minimal nostalgia of the tracks while preventing any teary pathos. Similar to Jack Name or Syd Barrett – only less psychedelic – in terms of songwriting and stripped back atmosphere, Hoare is sitting on the Velvet Underground's black-and-white sofa and gives his album a subter- ranean feel.
Reminiscent of artists like Soccer Mommy, Snail Mail, and Alvvays, Amber’s ability to alchemise the wistful and the hopeful into expansive, anthemic indie moments is on full show on ‘I Like What You Bring Out In Me’. The production balances airy, silken elements with a distorted punch, atop which Amber explores MUNA- esque sapphic euphoria - as she details:
“This song is about all the gross cringey things that come along with being in love. It’s about the realisation of someone bringing out the best in you and making you feel confident in yourself at all times, something that I hadn’t really ever experienced prior to being with my girlfriend.”
“music of absolute assurance and credibility”The Sunday Times - Breaking Act
“combines dream-pop, bedroom-pop and shoegaze in a way which is reminiscent of artists like Soccer Mommy, Snail Mail and Alvvays”DIY
“reminiscent of those golden singles by The Cure”CLASH
“Most of the tracks include lively solo canters — for example, the harmonica-fuelled chaos of 'Crashed Cars' or the synth spotlight on 'Repeat' — that rocket the tracks into dynamic new territory.” - Exclaim!
“It’s not about whether or not we need another folk singer; it’s a matter of Devarrow being the folk singer we all need right now.” - Dominionated
“Despite that heavy pull of how to find balance — and peace — in a modern world, Devarrow is playful and cheeky, with the palpable inspiration of Neil Young and Fleet Foxes on such tracks as 'Unwired' and 'Heart Attack.'” - CBCMusic
“Ereaux goes the extra mile on the record, capturing sounds on his phone and laptop to create what he calls a "gritty kind of depressed lo-fi sound" aimed at recording sound on the same devices he consumes information on.” - The Coast
" This piece of Ambient-Cinema i've created for GROUNDWATER is based upon a dream I had, in which two ghost Titanics met on the sea. They drifted slowly towards me as I realized that I myself was the iceberg that would sink both ships, as the music of Gavin Bryars hums softly from beneath the waters. We steer our lives upon a dream within a dream."
