DJ and producer DJ Vadim has teamed up with vocalist to record a forthcoming album from which the single Lost Without You has come from. The track itself is a cover of a Robin Thicke song, however the duo have given it a completely new lease of life and have more than made it their own. Vadim takes the traditional jazz chords of the original and adds his minimalist beats to it and when combined with Blackstone’s sumptuous vocals makes for a true gem of a tune. This talented pairing really have set the bar high for the album, Double Sided, which is due to be released next month on BBE Records.
Check out the BBE shop here.
Irish trio Tiny Magnetic Pets, who are named after a collectable Japanese Toy, have released their latest album, Deluxe/Debris on the independent Happy Robots Records label.
The record is full of moments of electropop mastery, kicking off with the superb Lost My Guiding Light which glimmers gloriously throughout as well as really set an exciting tone for Deluxe/Debris. Next up is the epic Semaphore which comes in at over eleven minutes long, however this tune is an undoubted highlight and manages to encapsulate your attention making time fly by in a flash. Tiny Magnetic Pets also show they are more than capable of bringing it down a notch or two on the brooding, melancholic Cold War Neon that holds a distinct beauty within its fragility.
All Yesterday’s Tomorrows somehow seems to effortlessly glide from industrial beats into serene keys that when accompanied by some exceptional vocals allow this track to truly shine. You can also hear influences from bands such as Portishead on tracks like the slow burning which swirls beautifully around you. This absolutely enthralling album finishes up with an all-out pop tune in the form of Never Alone, which also features the second guest appearance on the record of ex Kraftwerk Wolfgang Flur. I really can’t recommend Deluxe/Debris highly enough and it’s an album that really has to be heard in its entirety to appreciate, in addition to making me check out Tiny Magnetic Pets’ back catalogue which also more than worth a listen.
You can get the album here.
Rocky Wood are a Swiss/American quintet who have released their latest single, Enough, taken from their forthcoming EP set to be brought out on the On The Camper Records label. The track itself sees the band take an off-kilter take on pop music, on this smooth, melodic tune that floats around you like a dream. The band allow the listener to effortlessly drift away and you can hear tones similar to that of bands such as The XX which only leaves me waiting in anticipation to hear the full EP.
You can pre-order the EP here.
Ryan Potts AKA Paragraphs has self-released his latest album, The Children Are Orphans Now, which is a concept album about mental illness that really wears its heart on its sleeve.
The record sees Potts delve into a wide range of genres whilst still holding onto to its post rock sensibilities throughout, this can really be heard on the slow burning opening track, Love As You Are, that builds into a crescendo featuring guitars that swirl wonderfully around it. The Most Perfect Thing really nails the shoegazey feel and can’t help but pull at your heartstrings when accompanied by the murmured vocals.
There is quite often an industrial theme taken on through the album and you can see it develop more through its core, especially on tracks like Winter Destroy Me which despite having an obvious gloomy feel makes for a real stand out moment. Paragraphs really tackle a serious issue head on for the duration of this record as well as making sure they draw things to a close perfectly with the sublime Nothing Is Real which is full of reverb that leaves yours ears ringing long after its conclusion.
You can get the album here.
New York’s 68creep are set to release their first proper album, Goodnight Sweet Betty, courtesy of the fledgling Kiss/Kill/Repeat Records. I had previously never come across 68creep before and I must be honest and say this record only caught my attention as I was clearing out my inbox and I’m more than happy I decided to investigate the album further.
From the delicious opening tones of Stone Cold Kiss, I could tell this was a band that I would instantly enjoy with brooding riffs that give off a grungey/garage feel with more than a nod back to the 90’s. Next up is the more understated Black Cat which flows along smoothly before slowly building into a rousing crescendo. Squeezed in-between a couple of covers is the sublimely swooning Birthday which has a sense of melancholy as well as showing an impressive range of tempo from 68creep.
Goodnight, Sweet Betty is a record that is tinged in nostalgia whilst also being dragged into the modern era by 68creep. If this is the band’s first full length effort it certainly leaves the listener wanting more and I can’t help but see big things in the future for them.
Fledgling electronic duo Brineboy, hailing from Nashville, have added a couple more tracks to their collection since they last featured on this blog. The immensely talented HA Hill and Amy Wright have combined to produce yet another couple of barnstorming tunes. The first of which, Ideology is full of dark brooding tones like that of bands like Depeche Mode, however Brineboy put more than enough of their own stamp on it to make sure they don’t sound like any sort of imitation group. Please continues with the dark undertones whilst also having a beat that instantly gets you moving as well as adding to an impressive collection of songs which means I cannot wait for a full-length release from Brineboy.
You can get the tracks here.
Charles Griffin Gibson is a multi-talented artist whose latest album Frankenstein Songs for the Grocery Store (FSFTGS), is set to be the final release under the CHUCK moniker. The record has been released on the Audio Antihero label who seemingly effortlessly continue to provide with sublime material time after time.
Gibson’s irreverent take on pop music makes this wonderful lo-fi record absolutely fly be while also being tinged in dreamy tones in addition to an old school garage rock feel. After an instrumental opening track the catchy tones of New Yorker accompany CHUCK’s ability to poke fun at himself to make for a superb opening to the album. FSFTGS really is a terrifically crafted record full of insightful contradictions as well as slight intricacies that if you blink you’ll miss them, that really shine on the soft, swooning Cherry Tree.
A personal highlight on the album for me was the shoegazey Meow which has a faultless flow that manages to pack in an incredible to say the track come in at just under two minutes. CHUCK continues to drift through genres as can be heard on the almost balladesque Caroline before the melancholic and conflicting Happy Birthday shines as this thoughtful and evocative record starts to draw to a close and makes sure that CHUCK signs off an a high note.
You can get the album here.