Everyone is talking about Octavian. With one foot in Grime and the other in the spaciest reaches of the rap world, this young French born, London based artist has quickly found his own sound, impossible to categorise but unquestionably unique. His lyrics, mature, reflective but honed in the streets, convey the worldly nature of a man who at 21 years of age has been through the death of his father, a cultural uprooting (from France to Camberwell) and the contradictory peaks of attending two years on a scholarship to London’s private Brit School, followed by long stretches sleeping between friends sofas and the street.
Perhaps it’s due to these conflicting experiences that his tracks startle for their open minded approach to genre: drawing on spacey synths and hard edged trap beats, before veering into house or techno breakdowns. This virtuosity is on display in his early hits – Party Here (with more than a million views on youtube), 100 Degrees or Little – as well as across his two mixtapes to date: Essie World and Spaceman, both of which were critically lauded for their intelligence, authenticity, range and profound sense of rhythm. This friday at 00.50AM at Sónar.
NorCal singer-songwriter Luke Temple refuses to put down musical roots. Both under his own name and as part of Here We Go Magic, he’s wandered from dreamkraut to reggae-tinged synth-pop, to severe, off-kilter folk. The only constant in his journey is his light, twangy tenor—it’s no wonder he’s frequently compared to Paul Simon.
And like all journeys, Temple ends up right back where he started, wiser and wearier than when he began. “Wounded Brightness,” the lead single from Temple’s forthcoming album Both-And, refracts his earliest Sufjan Stevens-meets-Timothy Leary freak-folk through a mature, bossa nova prism.
Love hurts and Marlon Williams knows it. After having experienced a breakup with Aldous Harding, the young New Zealand singer-songwriter could not avoid a broad palette of mixed feelings from taking over his second studio album, Make Way For Love (Dead Oceans, 2018). Desire, infidelity and lust, among others, converge in an album where Marlon speaks honestly about his relationship using both his mature and privileged voice -similar to crooners such as Leonard Coehn or Elvis Presley- and rock, folk or country. This friday at Vida Festival.
The freshness and attitude of their songs has increased the popularity in just a few months of Madrid’s rock band Carolina Durante.
Their absolute anthems that speak of the day to day with tenderness, acidity and humour could be considered a mix between Los Nikis, Los Punsetes and The Jesus & Mary Chain. It’s her personal touch though, that has created hits such as “Cayetano”, “Niña De Hielo”, “El Himno Titular” and “Perdona (Ahora Sí Que Sí)” with Amaia. this summer in concert at FIB.
Lo-fi punk/shoegaze duo Kamikaze Girls are today announcing that they havechanged their name to CULTDREAMS and are busy working on new music.
The pair have released their second album, the follow-up to their critically acclaimed 2017 breakthrough debut album Seafoam. Cultdreams have announced their new album, ‘Things That Hurt’. The full-length will be released on 16th August via Big Scary Monsters Records, preceded by lead single ‘We Never Rest.
The Perth quartet’s psychedelic pop, who share blood type with Tame Impala, makes its way through an undergrowth of swampy instrumentations with melodic clearings. But, like any band with a lysergic disposition worthy of this name, they don’t have only one stylistic reality. That’s why there is an urban dimension of Pond as well –many songs are about Perth, their hometown–, their head is well set in the present – the inclusion of keyboards and chroming in their productions is far removed from the sixties and very much 21st century, and they have a very healthy curiosity for music that incites them to delve into other genres such as blue-eyed soul or pure and simple pop, without the prefix psych. They’ve return with their new album, Tasmania.
Admirers of Mac DeMarco’s rowdy pop, followers of Ariel Pink’s heterodoxy, fan clubs of Ezra Furham’s smile, all those who miss the word “nerd” (and maybe even still use it), please go to the new meeting point: Hawthorne, south of Los Angeles. Because this Californian enclave is now not only the town of the Beach Boys, but also the place in the world where Cuco’s little heart beats. Thanks to one self-released EP per year since 2016, Omar Banos has, from his bedroom, connected with the wakefulness of post-millennials worldwide. And although he applies the lo-fi mise en place to whatever genre he is cooking up (sunny-side-up, hip-hop, psychedelic soup, a mariachi picadillo in honour of his Mexican roots…), when going live, he brings out the Sunday crockery: up to nine indie big band musicians amplify the great Cuco’s small songbook.