Molly Burch semblava predestinada a fer cançons. Quan era petita, mentre la majoria de nens i nenes de la seva edat jugaven amb playmobils o videojocs, veia desfilar artistes per casa amb tota naturalitat: el seu pare era productor musical i la seva mare directora de càsting. D’aquesta conjunció només en podia sortir brillantor i talent, com va ser. A més, Burch, que viu a Austin però va néixer a Los Angeles, va decidir estudiar música de ben jove, poc després arribarien les primeres cançons, influenciades pels discos que sentien a casa: des dels Everly Brothers fins a Sam Cooke.
Amb aquest panorama, era qüestió de temps que aparegués el primer disc d’estudi d’aquesta californiana, ‘Please be mine’, publicat per la prestigiosa discogràfica novaiorquesa Captured Tracks, casa de bandes tan influents com Mac Demarco, Chris Cohen i The Soft Moon.
L’elapé de debut de Burch, que pot recordar des de les veus de les Shirelles fins al caràcter mutant d’Angel Olsen, s’inspira en les melodies dels 60 i la cançó d’autor nord-americana, tot passat pel filtre de la nova onada indie-folk dels Estats Units. Temes melancòlics, d’amors que marxen, soledat i certa penombra. I pinzellades de llum, esclar.
Catholic Action are four young men from Glasgow. Led by 23 year old songwriter and producer, Chris McCrory – the band marry classic pop songwriting, art rock sensibilities and glammed up, melodic guitar playing – before squeezing it all through a slacker-pop filter and making a sound utterly their own. In the midst of one of the most successful periods of their career to date which has featured everything from US shows to releasing beloved singles, the Glasgow-based outfit have now declared that their first full length In Memory Of will be released via Modern Sky.
St. Vincent has announced her new album. Titled MASSEDUCTION, it’s set for release on October 13th via Loma Vista. It marks Annie Clark’s fifth full-length overall following 2014’s impressive self-titled LP.. She accompanied the announcement with the second song from the album, “Los Ageless,” which follows “New York,” released last month
Spanning 13 tracks, the album was co-produced b Clark and Jack Antonoff, and recorded at Electric Lady Studios in Manhattan, with additional recording at Rough Consumer Studio in Brooklyn, and Compound Fracture in Los Angeles.
Everything that surrounds Superorganism is expectation and mystery. They came out of nowhere at the beginning of the year to rock the blogosphere with their intoxicating pop hit Something for your M.I.N.D., introducing themselves as a collective formed by Orono, the 17 year old Maine-resident Japanese girl and her seven London friends. The track quickly disappeared from the net for copyright issues, but not before seducing Frank Ocean, who played it on his radio show. In the past few months they have come back with two more happy-go-lucky tracks that confirm that they are the craziest most refreshing bands of the year.
Following the horrific attacks in London the Oasis stadium shaker “Don’t Look Back in Anger” returned to relevance as those affected by the tragedies used the song as a rallying call for unity and positivity. Both Noel and Liam Gallagher responded appropriately, with Noel donating royalties from the song to various organizations and Liam adding the tune to his solo repertoire.
Portugal. The Man also adopted the tune into their live rotation stateside, playing it at a number of recent gigs including a special collaboration with Cage the Elephant’s Matt Shultz at Bonnaroo. The band recently sat for an acoustic session and recorded the heartfelt cover in a stripped down setting.
Wolf Alice have shared a third single as a follow up to predecessors ‘Yuk Foo’ and ‘Don’t Delete The Kisses’ from their forthcoming album ‘Visions Of A Life’.
The track stays true to its name and is definitely ‘Beautifully Unconventional’ for the London rockers. With its choppy guitars and strutting tune it falls somewhere in the middle of both ‘Yuk Foo’ and ‘Don’t Delete The Kisses’.
King Krule is Archy Marshall, who beat-sings poetry that tumbles up and down like a diary written in M.C. Escher-space, through a voice like a languorous boxing glove.
“Czech One,” Marshall’s first new song since 2013, is an appropriately named, tentative step back up to the mic and early morning toe-dip in the lake of his avant-lounge (or fauxotica-jazz, or absinthe-core).