Marina Lambrini Diamandis is a Welsh-Greek singer, known professionally as MARINA (previously Marina & the Diamonds). Diamandis’ musical style ranges from keyboard-based ballads to more up-tempo new wave-style songs with full band backing. She has cited a wide range of influences such as Daniel Johnston, Blondie, Patti Smith, Nirvana, PJ Harvey, Elliott Smith, Dolly Parton, Britney Spears and Madonna.
MARINA released this year her fifth album the acclaimed ‘Ancient Dreams In A Modern Land’
An obsession with money, an unfaithful lover, a friend’s accidental pregnancy, misogyny, loneliness, death… This is just some of the lighthearted subject matter that make up LONER––the darkly comedic second album from songwriter/producer Caroline Rose. Armed with an arsenal of new instruments and equipment, an ever-growing sense of “ahhh fuck it,” two years of exploration, and a wicked sense of humor, Rose delivers a set of serious songs wrapped in a sprightly, angsty pop burrito. Because, as Rose puts it, “Sometimes sad songs just need a cocktail”.
“I call it Schizodrift,” she says sipping on a martini with her pinky out. “I want to make music that sounds as manic as I feel.” Filled with catchy synth hooks, Ray Manzarek-esque Farfisa, surf guitar, depth of thought and a punk attitude, LONER captures the energy of bands like Le Tigre and The Cramps, and nods to the styles of Blondie and DEVO, the pop hooks of icons like Justin Timberlake, all the while being inspired by the artistry of Kate Bush.
Calling in Amsterdam to huge acclaim, showcasing their talents as multi-instrumentalists and expert harmonisers. Cat on synths and electronic drum samples, Jane on guitars and lead vocals and Ruth switching between different instruments to create a dramatic, bold and electric live set which varies from stripped back 80s synth electronica (think New Order), guitar-led punk pop (Blondie) to R&B/funk moments (as in future single ‘Twice’ and the audacious ‘Last Dance’) and even euphoric Grimes-inspired dance builds and drops.
The punky Los Angeles band Cherry Glazerr released its first album, “Haxel Princess,” before its songwriter, singer and guitarist, Clementine Creevy, had graduated from high school in 2015. By then, she had also held a recurring role (leading a fictional band) in the series “Transparent”; done some modeling; and started writing Cherry Glazerr’s second album, “Apocalipstick,” She has soaked up a history of women’s punk, post-punk and grunge, glancing toward Blondie, Siouxsie and the Banshees, the Go-Gos, Sleater-Kinney and Hole among others, and she makes melody a priority whether a song barrels ahead at punk speed or digs into a sharp-elbowed midtempo riff. On “Apocalipstick,” Cherry Glazerr has grown from three members to four, and it moves beyond the lo-fi sound and throwaway sarcasm of the band’s debut. Ms. Creevy, 19, has a lot on her mind: female solidarity, junk food, insecurity, wildness, even thoughts about professionalism. And she sings like she has most of the answers.
Mordant lyrics, indie-pop effervescence and shades of Blondie meets Best Coast characterise London up-and-comers Anteros. Originated by Laura Hayden and Joshua Rumble, Anteros’ sparkling sound developed when the pair were joined by drummer Harry Balazs and Charles Monneraud on guitar. They’re about to release their debut album.
The Hillbilly Moon Explosion are Emanuela Hutter, vocals and rhythm guitar, Duncan James, lead guitar, Sylvain Petite, drums, and Oliver Baroni, bass and lead vocals. Formed as part of the Zurich rockabilly scene in 1998, they have wowed live audiences all over Europe. In recent years, their musical scope has been vastly extended from the originalrockabilly grooves to include elements of chanson, Americana, swing, and even mariachi.
“With Monsters and Gods” is released in the UK by Jungle Records. Says the band: “Why “With Monsters and Gods”? The song is about our demons and our love. Deep love. And the rest of the album is what can happen if you’re afraid of your demons and ignore them, which might lead you to “depression” and “desperation” and constantly being “down on your knees”.” The album contains the cover version Blondie’s “Call Me”.
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