The mysterious and cold beauty of Iceland lands in Barcelona with musician Ólafur Arnalds. An expert in creating unique soundscapes, Arnalds combines a mastery of avant-garde electronica with classical music. After having played Sónar last year, he now fills the Palau de la Música Catalana with a grand piano, string quartet, drums and electronic basses to present his new album, ‘Re:member’ (2018). This latest effort sees him exploring new pathways with software called Stratus, which he created himself along with his friend Halldór Eldjárn, from the electropop group Sykur. Stratus creates different rhytmic textures of various complexities that play in two automated pianos.
Bleu Toucan is an emergent duo composed by Emmanuel et Léonard. They produce electronic pop with English lyrics for the prestigious independent label Profil de Face, like Vendredi sur Mer. With already 3 EP releases, their music a fresh and dreamlike journey. Available in a live version or Djset the already played in fancy Parisian places like the Nüba club, The hotel Particulier Montmartre or Le Carmen. They’ve just shared their new single.
SPINN have been causing a stir over the past few months. With their feel-good jangle-pop tunes and infectious personalities, it’s not hard to see why the Liverpudlian quartet are constantly tipped as one of best up-and-coming acts.
SPINN spent 2018 selling out their debut UK headline tour, making the first visit to Japan, and clocking up over 3million Spotify plays. If that is the beachhead on the banks of the Mersey, then 2019 is the breakout. On 3rd May SPINN release their debut album ‘SPINN’ on Modern Sky UK.
Londoner Will Westerman, records mountainous synth-pop songs under the name Westerman. Before he met an electronic producer and decided to change course, he used to make folk music, but his songwriting has remained candid and hearty. His recent ArkEP as well as singles like “Easy Money,” “Edison” and “Confirmation” feature nimble production, reverb-laden guitars, spellbinding synths and rich vocals. Unlike other more danceable synth-pop, Westerman’s songs are meditative, transportive and introspective, and they exude a discernable, soothing wisdom. Westerman played his first U.S. shows last year and will make an appearance at SXSW next month.
The five piece released last year debut album ‘Superior State’, a record that takes inspiration from the brooding post-punk of Protomartyr, Joy Division and beyond, but harbours a shimmering gothic heart, recalling the widescreen, arena-bound synths of Gary Numan. Tonight in concert at Razzmatazz 3.
Despite forming less than a year ago, Wallows members Braeden Lemasters, Dylan Minnette and Cole Preston have been playing music together for nearly a decade. The connection is evident in their solid, high-energy live performances. Wallows have just wrapped up a series of sold-out shows at LA’s The Roxy and Troubadour, Slim’s in San Francisco, Constellation Room in Santa Ana and Mercury Lounge in New York City. Wallows are currently writing and prepping new tracks with plans to release more new music soon.
Wallows sound, an amalgam 90s era alt-rock with a younger modern twist, Now, the band prepares to release their debut album, Nothing Happens, available March 22 via Atlantic. Nothing Happens takes us through the ups and downs of life and captures the band’s journey towards adulthood through 11 intimate, introspective tracks. Wallows offers us a first glimpse into Nothing Happens with lead single and video “Are You Bored Yet? (feat. Clairo).”
Scottish pop quintet Walt Disco have shared their new single, “My Pop Sensibilities.” Though there’s no full-length to speak of yet, this Glasgow five-piece has been dropping dark, glittery singles for the past year or so, and this is another impressive addition to their repertoire.
The term “crooner” gets thrown around a lot, but Walt Disco’s James Potter’s low, flamboyant croon is unparalleled and capable of breaking a million hearts. “My Pop Sensibilities” pulls from the synth-heavy New Wave of Orange Juice, the jittery post-punk of Talking Heads and the moody New Romantic sonics of Boy George. Sharp, skittish guitars, bewitching synths and wounded vocals with a glamorous luster culminate in a Frankenstein’s monster of past pop stylings.