Published June 29, 2014
Kaela Sinclair is unquestionably a talented and versatile singer-songwriter but one who has the distinction of being called “the red-headed Morgan Freeman” by one particularly imaginative critic. This is presumably a reference to the Texan’s vocals which have that experienced, unforced emotional quality that belies her relative youth. Her debut, though, straddles an unexpected line between the worlds of indie pop and soul music.
Sinclair couldn’t have started much better than the terrific opening couplet ‘Ghosts You’ve Won’ and ‘Stranger’, where her relaxed yet emotive style can be enjoyed over imaginative ambient pop/orchestral arrangements. At this point she is reminiscent of Rose Elinor Dougall; a wonderful voice but also one who isn’t afraid to venture into the great British indie songbook. Continuing the impressive beginning, an elegant ‘Without’ and a romantic ‘Lock And Key’ demonstrate subtlety and soul.
From here, however, Sinclair is content to ease into late night soul. On the better material this can be appealing but during the middle section of the record, the comfortable aura Sinclair projects errs towards the bland. It is here where more hooks are required or at least a variation in style; just something to break up the pleasant, jazz club vibe. Belatedly, on the ninth track, ‘The Realist’, that change arrives as Sinclair and her band raise the game again to locate the kind of inspired vocal arrangement and infectious, playful melody so prevalent on the first few songs. The album ends well too with the towering ballad ‘Remnants Of’ and an aching 1970’s-flavoured ‘Coral Castles’.
For now, this somewhat uneven record suggests an artist caught between two genres, at the cusp of something special. Because when Sinclair follows her imagination and takes risks, she proves that she could follow in the footsteps of the inspirational, individual female performers her undoubted potential suggests.
Kaela Sinclair Official Site
Kaela Sinclair Bandcamp
Video for Kaela Sinclair – Ghosts You’ve Won
Rose Elinor Dougall, A Girl Called Eddy
Published June 27, 2014
When two talented pianists/composers work together, there’s a potential threat of egos taking control. Thankfully this wasn’t the case with Michelle Cross and Joe Frawley’s collaboration as Dolls Come To Life, with the former proving to be an excellent foil for Frawley as his always experimental approach began to place more emphasis on song-based material. Next up is another concept album called ‘The Groundskeeper’s Daughter’.
‘First Memory’ encapsulates Frawley’s solo output; distinguished by melancholic piano melodies, nature samples and female murmurings. For ‘The Nightingale And The Rose’, however, Cross is pushed to the forefront with the minimum of backing. Thereafter the duo push themselves into fascinating and varied directions. Frawley introduces sonic trickery on ‘Outside’, making the backgrounds shift and shimmer to add credence to the ghostly tale whilst ‘Wake Up, Wake Up’ and ‘The Language Of Flowers’ make clever use of vocal layering and “ambient guitar”. The production is also laden with echo which serves to add further chills to the already haunting material. Despite that the arrangements are actually fairly delicate, never threatening to oppress the listener.
Cross earned comparisons with Tori Amos on the first Dolls Come To Life album and she deserves them again on ‘The Violet Hour’; a rare (and not unwelcome) concession by the duo to record a mainstream song. Furthermore, the last official track is a lovely version of the Hoagy Carmichael standard ‘Stardust’. Here, the lyrics of “Beside the garden wall, when stars are bright, I am in your arms. The nightingale tells her fairytales of paradise where roses grew.” are perfectly chosen given the subject matter of the record.
Frawley and Cross make music which is designed for a dreamlike state, so material based on ghosts in gardens and half-formed memories fit this approach like a glove. Granted, there are a few times when the sounds blur so much that it’s hard to keep focus on the melodic themes but otherwise this songwriting partnership continues to bear fruit.
Bandcamp Stream of Michelle Cross & Joe Frawley’s ‘The Groundskeeper’s Daughter’
Michelle Cross Official Site
Joe Frawley Official Site
Kate Bush, Tori Amos, Dead Can Dance
Published June 24, 2014
4AD followers will be aware of Swallow, a male/female duo who released an album called ‘Blow’ in 1992. It encapsulated the dream pop/shoegaze movement of the time with Louise Trehy’s gentle, whispered vocals a ghostly presence in their brief recording career. Since then, Trehy abandoned the music business altogether so the appearance of a new project called Strata Florida is something of a surprise. Here she is joined by veteran guitarist Pete Pavli and drummer Steve Kent.
‘Made Of Stars’ begins with anything but a whisper since it is ushered in by a sequence of murky guitars but then the reassuringly familiar vocals of Trehy soon make their presence known. As comebacks go, Trehy and her musical partners certainly don’t play it safe with some of the arrangements bordering on the abrasive side. However, the one constant is Trehy’s lighter than air tones which lend an angelic contrast to the devilment around her. Amongst such FX-saturated tunes, the relatively spare ‘Hang On’ emerges as a moment of warped beauty. Swallow earned expected comparisons with My Bloody Valentine during their time and choice cuts here such as ‘Sleeper’ and ‘Monster’ pull off that trick of finding blissful melody underneath walls of bruising, manicured noise. At other times, though, it’s difficult to detect the melody and one almost feels sympathy for Trehy on her quest to be heard above the cacophony.
In conclusion, ‘Made Of Stars’ requires a fair amount of hard work to appreciate its qualities. However, shoegazing fans are noted for their patience and by peeling away the layers of distortion, the album eventually represents an unexpected and equally welcome return for Trehy.
Strata Florida Official Site
Saint Marie Records Label and Shop Site
Strata Florida – Made Of Stars on Bandcamp
Video for Strata Florida – Hang On
Swallow, My Bloody Valentine, Cranes
Published June 23, 2014
If Seattle’s Jupe Jupe existed thirty years ago, it’s easy to imagine them lining up alongside the synth pop giants of the day. They have a fine and distinctive frontman in the lovelorn, brooding tones of My Young whilst the songs consist of swish synth pop backed up by mildly aggressive guitars, provoking comparisons to Ultravox in their pomp.
Lead track ‘Pieces Of You’ collects all the key elements together into an exquisite whole, making it the perfect choice for the first single too. European pop is revived again for ‘Love To Watch You Fall’ and for the first few tracks, the band appear to be sticking rigidly to a slick, shiny but effective formula. However, the darker ‘Whispers Kill’ and ‘All The Things We Made’ suggests the bittersweet delights of Magnetic Fields, thereby revealing further depth to their songwriting credentials. To offer even further contrast, ‘Vicariously’ is disposable but also insanely catchy and ‘New Stars In The Sky’ rounds off the record with an excess of romantic longing.
The album could do with a little pruning here and there. After all, good pop albums tend to clock in well under the forty five minute mark. However, ‘Crooked Kisses’ is certainly hook-heavy and if you’re partial to synth pop fronted by rich, melancholic vocals, dive right in.
Jupe Jupe Official Site
Jupe Jupe Bandcamp
Levy, Ultravox, The Magnetic Fields
Published June 22, 2014
Mr. Forest Green have emerged from Modesto, California and simply sum up their genre as “indie”. This admittedly open-ended description is probably the easiest way to define this fascinating EP which straddles shoegaze, post-rock and even a smidgen of folk in search of multi-layered euphoria.
In keeping with the nature-themed band name, a chorus of bird song opens the EP but then a cavalcade of guitars begins accompanied by a brief sequence of aching vocals. There’s a definite shoegaze ambience here but then there’s also dense passages of acoustic guitars in the mix too so the effect is like listening to a rustic version of The Walkmen. ‘Disregarded Love’ layers on the guitars too, with once again little in the way of human voices but plenty of dreamy melodrama.
The lack of vocals on the first two tracks is actually a little disappointing since they are strong and expressive when they do feature. Thankfully, they are much more prominent on the engaging ‘Casual Convenience’ and ‘Yellow Orange’. The production could benefit from a little more clarity but they are clearly emerging as songwriters rather than post-rockers with the latter offering, in particular, ratcheting up the intensity levels. Meanwhile, the final track, ‘Hollow’, is slightly trippy and psychedelic, showing a different slant to the group’s ouevre.
Overall, it’s an encouraging start for this fledgling band which has the key elements you would demand from any new act. Good songs, creative arrangements and a myriad of directions they could take forward for future releases. Therefore, ‘Fluorescent Night’ is definitely good indie.
Mr. Forest Bandcamp
Broken Social Scene
Published June 21, 2014
Lucas Moura and Felipe Augusto live in a small coastal city in North East Brazil, resplendent with tropical scenery and tropical weather. It must be a fine source of inspiration for making music and the duo have duly obliged with their first EP of psychedelic pop.
‘Elbow Pain’ isn’t the first and certainly won’t be the last song to be influenced by the beach, nostalgia and the break up of a relationship but the captivating mix of languid flamenco guitars, falsetto vocals and thick production to the fore. This paints a picture which is original, colourful and – let’s be honest about it – trippy. The vibe on the next trip is considerably more folk-flavoured on the excellent ‘La Edad Del Futuro’ with wistful flute and organ melodies interweaving expertly with the duo’s chanting. ‘Birds Singing Lies’ sees the duo experiment with samples of avian calls to chilling effect whilst ‘Lucid Dream’ presents a moment of skewed beauty; all swirling keyboards and slightly off-key Beach Boys harmonies.
They begin to overdo the sleepy effect on the drowsy closers ‘Sophie’ and ‘Old Blood’ but maybe that was the idea all along and Moura and Augusto are musical geniuses designing the perfect soundtrack to evoke a dreamlike state and eventual sleep. Either way, the whole experience certainly adds up to something far more substantial than any suggestions of drug-fuelled nonsense they might initially be mistaken for.
Bandcamp Stream for Glue Trip – Just Trippin
The Kinetic Stereokids
Published June 16, 2014
Part of the same Sheffield scene which spawned The Crookes, High Hazels step into the limelight with their first EP. Like their fellow South Yorkshire pretenders, this new four piece specialise in a happy/sad Northern Britain outlook, predominantly informed by the romance and rock and roll of yesterday but with a nod to the dream pop productions of today.
Yet whilst The Crookes specialise in an almost breathless form of indie, High Hazels are the kings of lovelorn ballads. Opener ‘French Rue’ is an absolute killer of an opening track. Scott Howes’ vintage guitar hooks shimmer deliciously and when James Leesley opens his mouth something really quite beautiful emerges; a young voice but one equipped with all the bittersweet experiences of a man twice his age. Clearly, these guys are not another set of young upstarts jumping on the retro bandwagon, there is real emotion and talent here.
The tender melancholy of ‘Winter Song’ sounds magical, featuring lovely layers of reverb-soaked guitar and a key lyric of “The sun has fallen down, on an empty town”. It’s unmistakably nostalgic but High Hazels put their own stamp on it, just as The La’s did a quarter of a Century ago. Continuing the weather theme, ‘Summer Rain’ is a stomping number more redolent of The Crookes or indeed those other modern purveyors of jaded romance, Chapel Club. This just leaves a glistening ‘Loose Stitches’ to close the EP, reverting to the quartet’s strength in balladry with yet more 60’s period grace.
High Hazels are currently working on their first album and if they keep up this brilliant form, it could be one of the best of the year. So Richard Hawley better watch out because a new band of heartbreakers are in town to steal his mantle.
High Hazels Tumblr
SoundCloud Page for High Hazels – In The Half Light
Richard Hawley, The Crookes, Chapel Club, The La’s