An excellent new single from powerpunk quartet Fightmilk, a preview of their much-anticipated second album, currently being recorded for release later this year on eclectic popsters haven Reckless Yes Records.
As on lead singer Lily’s recent solo EP (as ‘Captain Handsome’) there is a melancholy weaving through the lyric ‘…you said one day you’d fly me to the moon…these days you just make sad songs in your room…’.
Like many of the Fightmilk tracks there are cultural references to mull over and enjoy ‘….watching Interstellar didn’t make it better….reading Carl Sagan, looking kind of vacant….’ as well as a rare namecheck for ‘background radiation’ in a pop song.
The space theme is an apt metaphor for regret and disappointment (see Billy Bragg’s ‘The Space Race is Over’, ‘Jupiter Crash’ by the Cure, ‘Rocketman’ etc etc) but this new track manages to simultaneously embrace those feelings and take a different direction, as well as including a title that is possibly the longest in the history of this genre (beating Klaatu/The Carpenters ‘Calling Occupants Of Interplanetary Craft’….).
It is a thoughtful but sharp lyric, well-delivered by Lily over rich ever-changing music with otherworldly guitar shimmers and a thumping bass and drums in the chorus. A short instrumental break has an ascending wall of distortion like Apollo 11 taking off, before the music calms down and celestial harmony is restored…
Relocating from Brescia in Italy to Manchester, Julia Bardo has absorbed musical influences and developed her cross-genre styling to great effect. I wrote a review of track 2, one of the taster singles from this EP for http://www.indiemidlands.co.uk, now the finished package has been released….
1. Into Your Eyes Gentle sound effects lure us into this classy opener. Julia’s voice is right at the front of the mix, expressive but somehow otherworldly as the guitar layers are gradually added to. Unhurried and melancholy, it is an outstanding track with a sound reminiscent of Canadian indie dream-poppers Alvvays at their echoing best.
2. Please Don’t Tell Me With a disconnected feeling in the music and lyrics, this starts with a distant vocal floating across an alt-country soundscape. This soon bridges into a catchier chorus ‘….. please don’t tell me who I am…please don’t tell me who you are…’ as a guitar figure sounds subtly jarring and dissonant, then goes into a short instrumental link.
And all of this in the first half of the song. There is plenty of musical activity in less than four minutes; add in the video too with the red and blue coloured versions of Julia’s conscience, the possibly deserted performance venue and the old portable TV and this is a rich, rewarding and thought-provoking track.
3. Lonely Morning A faster rhythm-driven song, with percussion and a spiky electric guitar setting the pace. With the sentiment of the lyrics never quite certain the chorus ‘….and when you wake in the morning lights are gone and you’re lonely….’ settles nicely in your consciousness and won’t leave.
4. I Wanna Feel Love This is a hybrid of 60s multi-layer torch song and moody dream-pop, complete with Italian spoken word section and retro instrumentation. The yearning and heartache in the vocals stays with you as this excellent EP reaches its end.
‘Camera’ is the stunning new single from singer/composer/musician Hydra Lerna, self-produced as always and this time moving into a lighter pop groove. Despite the summery flavours of the music, there is a darker side in the lyrical conflicts of the narrator being in a difficult relationship, not quite sure of the conclusion but aware of the positives (‘….It’s a hundred degrees outside…but in here it’s intensified….’).
Many of her songs show that Hydra Lerna has always been able to turn a lyrical phrase inside-out and use some evocative imagery ‘…hold me like a bed of nails… I think I found my holy grail…’ and explanation ‘….it is all in our flawed design…puzzle pieces with jagged lines…’. But the situation described here is sort of equal, with the slightly sinister pay-off ‘…when we’re hanging in the balance….I’ll have the photographs of you…’
It is a lyrically dense and thought-provoking song and the music reflects the ebb and flow of the words; based around two six note keyboard figures there is a deep bass counterpoint and subtle percussion.
Hydra Lerna is a talented harp player and has featured this on some of her previous tracks but this time the unique instrument has been left to gather dust in the studio cupboard; as she explains “There is no harp in Camera at all sadly, just synths! I moved away from it for this track because I wanted to be free to create something upbeat and dancey, without feeling like I needed to sit and write with the harp”
The innovative video features lots of secret filming in Norwich city centre shops, as Hydra links together the photography of the video-watcher, herself and the surroundings and looks like she is having great fun in the process!
Midlands quartet Sunset Beach Hut last recorded in 2018, with ‘Comfort’ and ‘Upside-Down’ hitting many critical radars and most noticeably the much-streamed ‘Bury’. This distinctive track was simultaneously haunting and soothing with a flowing and busy guitar line and relaxed counterpoint vocals.
They have continued to play live to an appreciative following and now the excellent new single ‘Twenty//25\\five’ arrives, hinting at a renewed flourishing for the band. On this enigmatically named and punctuated track the guitar has continued to glitter in the mix, floating amiably through the song with reassuring echo and melodic depth as the vocals by Aphra Smith beguile and intrigue – lyrically cryptic and melancholic (‘…I’m a glass of champ that’s lost its fizz, a half empty bottle when it comes down to it…’) but always returning to the chorus line ‘….I came to dance my thoughts away…. out of your spotlights….’.
The lo-fi creative animation of the video combines effectively with the song to become strangely uplifting and thought-provoking, as the bass and drums drive the rhythm along with a relaxing confidence until the abrupt end; the two minutes ten passes all too quickly…
First recorded as a solo acoustic ballad in 2019 by folk country singer and composer Molly-Anne this stunning new version has reimagined and expanded the original and now stands as the first release from the new band Molly & The Moon.
Reassuringly the track has retained the subtlety and understatement; set to a gentle waltz time it is a simple expression of missing a loved one ‘…I think that I love you too much…you’d break my heart if you never came back…’ resolving into the perfectly balanced three-part harmony chorus, ‘….cold is the night without you here….the pain of my heartache as wild as the sea…I hope the wind blows you back to me….’.
The production and performance is relaxed and mellow – with the rich but delicate lead vocal hinting at the depth of emotion beneath the surface.
This new band line-up features acoustic bass, guitar, banjo and cajón and is featured in an atmospheric video recorded at a 10th Century Saxon Barn in Gloucestershire, an appropriately timeless and classic setting for this gorgeous song.
(Molly & The Moon can be seen at the charity Frameshifter II Festival on 21st March, tickets available here )
The striking Love Hearts sweets artwork heralds a new single from Derby-based musician/performer/producer Emzae, a follow up to the contrasting ‘As This Day Fades To Another’ and ‘Another Lesson Learnt’ from last year.
Like all of her recorded work this new track is immaculately constructed, with the combination of lyric and music beguiling and inviting the listener in. Reflecting the sentiment of the title, Emzae’s vocal kicks in at the one second mark and then it is all action for the brief duration of the track as it packs in verses, spoken word, bridges and a double chorus ‘….if we get into it you have to be sure, don’t wanna be restless no more….’ and of course ‘…we don’t wanna waste our time…’.
The phrases roll over each other as the voices take on different characteristics; the brilliance of this song is that all of this meshes together so effectively, expressing the fun and urgency of a possible relationship.
This lyrical dance takes place over some sharp and sparse electronic beats, percussion interruptions and possibly an acoustic piano in there too, all adding up to a sparkling two minutes.
Based in Berlin, Eilis Frawley uses drums, percussion and electronics as soundboards for her spoken words.
Released in 2019, ‘Illusions’ delivers a humdrum diary of existence over a tense drum pattern, dramatically coloured by staccato bursts and an ominous keyboard sequence. The follow-up ‘Strangers’ features a more uncomfortable and spiky rhythm as a narrated relationship swiftly shifts into decline. The synthesiser figure is deceptively cheerful but the words are not very optimistic, ‘…we used to be members of the same team….our joyful past blurred by our current disconnect….will we last?…’
Current single ‘Intellectual Men’ opens with bass electronic tones and an excellent percussion and drum work-out, saving the words for the second half of the track. The musings of the lyric are subtle and caustic ‘…these intellectual clever engaged men want to endlessly probe my argument for weaknesses…..want to argue just for fun…’ and drives the point home.
As Eilis concisely sets out the words, the fiery drums cut inbetween, their dissonance and anger underlining the disconnected emotion.
These three tracks will form the core of an upcoming EP ‘Never Too Emotional’, to be released on the label Reckless Yes Records, fast becoming a haven for bold, fun, original and constantly challenging musicians.