Tag: Clash Magazine

The rapidly rising Newcastle, UK-based indie act FEVA — Sam Reynolds (vocals/guitar), Danny Castro (drums), James Gibbons (guitar) and Thomas Errington (Bass) — had a breakthrough year last year, that saw them open for Noel Gallagher’s High Flying Birds, The Vaccines, Pip Blom, Inhaler, and Lauran Hibberd. Although currently, things are bleak and uncertain, the band hopes that they’ll be able to continue the momentum of last year with the release of new material throughout the course of this year, and hopefully live dates during the fall.

Centered around enormous, power chord-driven riffage, thunderous drumming, rousingly anthemic hooks, Sam Reynolds powerhouse vocals,  and a remarkably self-assured delivery, the Newcastle indie quartet’s latest single “I Wanna Know” may arguably be the most ambitious and arena rock friendly song they’ve released to date. To that end, it shouldn’t be surprising that the song has already received praise from the likes of The Line of Best FitClash Magazine and Dork, as well as airplay from BBC Radio 1 and BBC Radio 6.

Interestingly, although the song is an arena rock friendly anthem, the band explains in press notes that the song is actually about reflection — or more specifically self-reflection, “As we make our way through life, it’s easy to lose ourselves and get caught up in things that in time, we realise never ever mattered,” the members of FEVA say in press notes. “This song is about taking a step back and remembering who you are and who you were, when life took its tool on you.”

 

 

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I’ve written a bit about the Ipswich, UK-born, London-based singer/songwriter and guitarist Hannah Scott over the past couple of years. And as you may recall much of her work is influenced by her own personal experiences, including  a year she spent working on an olive press in rural Tuscany, Italy in her late teens, her diagnosis with a form of arthritis, which causes severe joint pain and fatigue, as well as the experiences of the people in her life.

Several years later, Scott met her collaborator, Italian-born multi-instrumentalist, composer and producer Stefano Della Casa when they were both in London. But as the story goes, they both recognized that they may have encountered each other years earlier, when Scott used to pass through the train station that Della Casa worked in at the time. Interestingly, when Scott and Della Casa began working together, they also quickly recognized that they had a deep and abiding creative connection despite coming from vastly different backgrounds: Della Casa had a difficult upbringing and troubled early adulthood while Scott had been lucky to have a supportive family and relatively happy childhood.

Both artists firmly believe that their musical collaboration has provided an outlet to support each other through difficult times and in a relatively short time, they’ve built up a profile both nationally and internationally with write-ups in MOJO, Songwriting Magazine , Clash Magazine and in The Guardian as a “New Band of The Day.” They’ve also received airplay on  Bob Harris’ and Dermot O’Leary’BBC Radio 2 shows and have been on  BBC Introducing’s “Track of the Week” three times. They’ve opened for  Seth Lakeman and 10cc , and played at Mondo.NYC Festival a couple of years ago.

Since I caught her at Mondo.NYC, Scott has been pretty busy releasing new material including 2018’s full-length Pieces of the Night which firmly established Scott’s sound and approach: emotive and heartfelt songwriting paired with a cinematic production featuring organic instrumentation — acoustic guitar, cello and vocals — with atmospheric electronics. Last year, she released the gorgeous Parachutes and A Rush of Blood to the Head-era Coldplay-like “Walk a Wire,” which managed to be one of the Ipswich-born, London-based singer/songwriter’s most urgent songs, as it’s a plea to the listener to take a chance to open up to life and possibility before it’s too late.

The Della Casa co-written and produced “Shape” is the latest single from the JOVM mainstay and it’s also the latest single off her forthcoming full-length album. Centered around a cinematic production featuring twinkling keys, atmospheric synths, Scott’s emotive vocals and an enormous hook the song further cements the sound and approach that has won Scott attention across the blogosphere. Much like “Walk a Wire,” the song showcases her narrative-based songwriting, with the song recounting the story of how her maternal grandmother refused to accept her mother’s engagement to her father, threatening to never speak to her mother again if they got married. Her grandmother kept her word for over 20 years. As a result, the song expresses an overwhelming sense of regret and loss, as well as the sense of time rushing by and missing the small yet very important things — the birth of one’s grandchild, Christmases and the like.

 

 

BisonBison is a rising Toronto-based electronic music collaboration featuring producers Dani Ramez and Chad Skinner, drummer and producer Brad Weber, multi-instrumentalist Sinead Bermingham and vocalist Sophia Alexandra. Each individual of the Canadian collective have different musical backgrounds, including traditional Irish folk, Middle Eastern music, trip hop, jazz and funk. Citing Bonobo, Helios, and Christian Löffler as influences, the members of the Toronto-based electronic act have developed and crafted a sound that meshes elements of folk, downtempo electronica and electronic dance music. 

Released earlier this month through Zozaya Records, BisonBison’s full-length debut Hover can trace its origins back to a series of loose acoustic jams between a cast of collaborators and musicians that ultimately filtered down to the band’s current lineup and Caribou’s Brad Weber contributing drums — with the bandmembers piecing material together into the album’s material. “Recover,” Hover‘s first single received support from media outlets like Earmilk and Clash MagazineBuilding upon a growing profile, the album’s third and latest single, the hypnotic album title track “Hover” is a lush and atmospheric track centered around shimmering and twinkling synths, a sinuous bass line, thumping beats, enormous hook and Sophia Alexandra’s ethereal cooing. Sonically, the song is an ambitious and dance floor friendly mesh of trip-hop, ambient electronica and acid house that sounds familiar yet novel.

 

 

 

 

 

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Sophie Nicole Ellison is a London-based singer/songwriter, multi-instrumentalist and studio engineer, who has spent the past few years playing drums for a number of local bands and working as as studio engineer. During that same period of time, Ellison began writing material for her solo, dream pop recording project HUSSY.

Since October, Ellison has released three singles that have received praise from the likes of DIY Magazine, So Young Magazine, The Line of Best Fit and Clash Magazine. Adding to a growing reputation as one of the UK’s most exciting and promising alt pop/indie rock acts, Ellison has opened for the likes of FEELS and Lala Lala — and she will be playing the second annual New Colossus Festival in March 2020.

Interestingly, Ellison’s latest HUSSY single “YLMD” is a moody. decidedly hook-driven, New Wave-inspired, shimmering take on dream pop that — to my ears — brings JOVM mainstays Amber Arcades, Gothic Tropic, and Too True-era Dum Dum Girls to mind. And much like those acts, “YLMD” finds Ellison pairing earnest and ambitious songwriting with a slick, radio friendly,  studio sheen. “I really wanted to up what I’ve been doing sonically,” Ellison explains in press notes. “Before now I’d been recording nearly everything at home but went to a proper studio to redo some elements from the original home demo.

“I could almost say at this stage it has become a love letter to self-empowerment and things going wrong,” the rising British singer/songwriter, multi-instrumentalist and studio engineer says of her latest single. “You can guess once you hear the lyrics, YLMD stands for You Let Me Down. I wrote it a few years ago and feels like it’s almost taken on a new meaning for me now than when I wrote it.

“Originally it was the frustration over seeing loved one’s self-destruction. Ultimately though, it’s a journey of reflection and self-empowerment.”

Adds Ellison, “This song has become a remind of how important trusting yourself is to me.”

 

New Video: Rising British Pop Artist Jordan Mackampa Releases a Symbolic Visual for “Parachutes”

Jordan Mackampa is a rising London-born and-based Congolese-British singer/songwriter. With the release of “Under” earlier this year and 2016’s Physics EP, and 2017’s Tales From The Broken EP and Live from the Grand Cru EP, Mackampa has received critical praise from NME, The 405, The Line of Best Fit, Clash, Indie Shuffle, Wonderland and others — with all of his previously released material amassing over 50 million Spotify streams.

Mackampa’s work is inspired by his Congolese roots and his mother’s love of legendary soul singers like Marvin Gaye, Bill Withers and Curtis Mayfield. And much like his influences, Mackampa has a developed a reputation for pairing an old school singer/songwriter soul-like vocal delivery with earnest songwriting and catchy melodies with a modern approach. Building upon that momentum, Mackampa’s highly-anticipated full-length debut Foreigner is slated for a March 13, 2020 release. Along with that the rising Congolese-British artist is currently on tour opening for Amber Run  and he has been confirmed to play at next year’s SXSW.

Mackampa’s latest single, “Parachutes” is a breezy yet deliberately crafted track centered around a radio friendly and loose arrangement of twinkling keys, shimmering guitars, a sinuous bass line and propulsive drumming. But the star of the show is Mackampa’s easygoing and expressive vocals — in this case, Mackampa’s voice evokes the soaring high of being in love and the embittering low of heartache and betrayal within the turn of a phrase.

“‘Parachutes’ encapsulates those situations with people you’ve come across in life; who aren’t who they pretend to be and the person they are with you, isn’t someone you want to be around,” Mackampa explains in press notes. “However because you love them, either platonically or romantically, you’re conflicted by your feelings for them until it gets to a point where you don’t want to be hurt anymore… Nobody is perfect, but if you were trapped in an airplane with them and they had a parachute but you didn’t you would jump out regardless, because any pain you would experience afterwards, won’t be as bad as what you’ve already gone through.”

Directed by Tom Ewbank, the recently released and deeply metaphoric captures the psychological and physical battles of any relationship — essentially saying that sometimes other people can be hellish and torturous. “I wanted this video to capture the mental, and sometimes physical battles we go through in relationships, whether they are platonic or romantic with people in our lives,” Mackampa explains in press notes. “It can sometimes feel as though you’re dealing with two different people, but no one else sees the other person you encounter who brings you pain and hurt, rather than joy. You become inwards within yourself until you can’t take it anymore and have to walk away from them, even if it’s hard.”

New Audio: Rising British Pop Artist Jordan Mackampa Releases a Soulful and Radio Friendly Single

Mackampa’s work is inspired by his Congolese roots and his mother’s love of legendary soul singers like Marvin Gaye, Bill Withers and Curtis Mayfield. And much like his influences, Mackampa has a developed a reputation for pairing an old school singer/songwriter soul-like vocal delivery with earnest songwriting and catchy melodies with a modern approach. Building upon that momentum, Mackampa’s highly-anticipated full-length debut Foreigner is slated for a March 13, 2020 release. Along with that the rising Congolese-British artist is currently on a North American tour opening for Amber Run that includes a stop tomorrow at Warsaw — and he has been confirmed to play at next year’s SXSW.

Jordan Mackampa is a rising London-born and-based Congolese-British singer/songwriter. With the release of “Under” earlier this year and 2016’s Physics EP, and 2017’s Tales From The Broken EP and Live from the Grand Cru EP, Mackampa has received critical praise from NME, The 405, The Line of Best Fit, Clash, Indie Shuffle, Wonderland and others — with all of his previously released material amassing over 50 million Spotify streams.

Mackampa’s latest single, “Parachutes” is a breezy yet deliberately crafted track centered around a radio friendly and loose arrangement of twinkling keys, shimmering guitars, a sinuous bass line and propulsive drumming. But the star of the show is Mackampa’s easygoing and expressive vocals — in this case, Mackampa’s voice evokes the soaring high of being in love and the embittering low of heartache and betrayal within the turn of a phrase.

“‘Parachutes’ encapsulates those situations with people you’ve come across in life; who aren’t who they pretend to be and the person they are with you, isn’t someone you want to be around,” Mackampa explains in press notes. “However because you love them, either platonically or romantically, you’re conflicted by your feelings for them until it gets to a point where you don’t want to be hurt anymore… Nobody is perfect, but if you were trapped in an airplane with them and they had a parachute but you didn’t you would jump out regardless, because any pain you would experience afterwards, won’t be as bad as what you’ve already gone through.”

New Video: Hull’s bdrmm Releases a Trippy Visual for Arena Rock-Friendly Single “Shame”

Last year, I wrote about the up-and-coming Hull, UK-based indie rock act bdrmm. And as you may recall, the act which initially started as the bedroom recording project of singer/songwriter and guitarist Ryan Smith during the end of 2016 quickly became a full-fledged band when Smith recruited his brother Jordan (bass), Joe Vickers (guitar), Daniel Hull (synth, backing vocals) and Luke Irvin (drums) to complete the band’s lineup. 

The band went on to cut their teeth playing shows across Northern England before releasing their first two singles “kare” and “the way i want,” which quickly caught the attention of MTV, Clash Magazine and DORK, as well as airplay from BBC Radio 1 and Amazing Radio. The Hull-based quintet has opened for Trudy & The Romance, Her’s, FEHM and Horsey — and as a result, they caught the attention of London-based indie label Permanent Creeps, who released the 4AD Records-like “C.U.” Since then, they’ve opened for JOVM mainstays pizzagirl and Amber Arcades, as well Gengahr. Additionally, they’ve played sets at a number of British festivals including Gold Sounds, Humber Street Sesh, and Live at Leeds, which have added to a rapidly growing national profile. 

Their highly-anticipated Alex Greaves-produced debut EP If Not When? is slated for an October 11, 2019 release through Sonic Cathedral Records — and the EP, which has seen physical pre-orders quickly sell out is largely influenced by the likes of DIIV, Slowdive and Beach House, as well as an up-and-coming crop of British post-punk acts including Squid, YOWL, Black Country and New Road. Interestingly, the EP’s first single “Shame” find the band retaining the shimmering post-punk tinged shoegazer sound of their previous releases — but with a forceful and propulsive groove and an ambitious arena rock-like feel, reminiscent of The Cure and others. 

“‘Shame’ is about the heartache of having to tell someone you can about the most that being together can’t work for whatever reason — having to be the person, who takes it upon themselves to do the right thing, even though it feels so wrong,” the band’s Ryan Smith explains in press notes. 

The recently released video by Jordan Smith is a dizzying visual that’s one part lyric video with some psychedelic imagery. 

New Video: Rising British Singer/Songwriter and Guitarist Lauran Hibberd Releases a Satirical Video for Grunge Rock-Inspired “Hootchie”

Lauran Hibberd is a rising Isle of Wight-born and-based singer/songwriter and guitarist, whose witty off-kilter lyricism has welcomed comparisons to the likes of Courtney Barnett and Phoebe Bridgers. And over the past year or so, Hibberd has received a growing national profile across the UK as a result of airplay on the BBC Radio 1 programs of Annie Mac, Huw Stephens and Jack Saunders, and praise across the blogosphere and elsewhere from the likes of The Line of Best Fit, The 405, Clash Magazine and Gigwise. 

Earlier this year, the Isle of Wight-born and-based singer/songwriter and guitarist tour the UK and EU with acclaimed indie act Hippo Campus — and adding to a big 2019 for the rising artist, she earned a slot on the BBC Introducing stage at this year’s Glastonbury Festival.  

Fresh off the heels of all of this big news, Hibberd’s latest single, “Hoochie” is a 90s alt-rock/grunge rock-inspired track centered around the rising British singer/songwriter and guitarist’s ironic delivery, rousingly anthemic hooks, fuzzy and jangling power chords and forceful drumming, Now, we’re all familiar with what the slang term actually means but what makes the song hilarious is that it finds Hibberd laughingly taking the piss out of the term. 

The recently released video emphasizes the song’s theme by satirizing phone sex line TV commercials, as we see Hibberd play very specific and very bland fantasy roles — the high school cheerleader, the girl with daddy issues, the dominatrix and so on. At one point her backing band joins her. “Hoochie is a 90’s slang term for a bit of a you know what,” Hibberd says of the video. “I wanted to embrace that in the only way I knew how. No fruit or vegetables were harmed in the making of this. Why don’t you text/ call and see what happens? Filmed by Skinny Mammoth in a dodgy garage on the Isle of Wight. Say what you will”.

 

Hannah Scott is an Ipswich, UK-born, London, UK-based singer/songwriter, whose work is heavily influenced by a year spent working on an olive press in rural Tuscany, Italy in her late teens.

Several years later, Scott met her collaborator, Italian-born multi-instrumentalist, composer and producer Stefano Della Casa when they were both in London, but interestingly enough, they both recognized that they may have encountered each other years earlier, when she used to regularly pass through the train station that Della Casa worked in. When the duo began collaborating, they quickly recognized that they had an incredible connection despite coming from vastly different backgrounds: Della Casa had a difficult upbringing and troubled early adulthood while Scott had been lucky to have a supportive family and happy childhood — although as an adult, Scott was diagnosed with a form of arthritis, which causes severe joint pain and fatigue.

Both artists firmly believe that their musical collaboration has provided an outlet to support each other through difficult times, and the duo have received quite a bit of buzz over the past couple of years: they’ve been featured in MOJO, Songwriting Magazine , Clash Magazine and in The Guardian as a “New Band of The Day.” They’ve also received airplay on  Bob Harris’ and Dermot O’Leary’BBC Radio 2 shows and have been on  BBC Introducing’s “Track of the Week” three times. They’ve opened for  Seth Lakeman and 10cc , and played at Mondo.NYC Festival a couple of years ago.

Last year’s  Pieces of the Night quickly established Scott as one of her country’s emerging singer/songwriters with the album pairing emotive and heartfelt songwriting with a warm and effortless production that meshed organic instrumentation — primarily acoustic guitar, cello and vocals — with atmospheric electronics. Building upon a rapidly growing profile, both Scott and her collaborator Della Casa have signed publishing deals with Ultra Music Publishing and Chelsea Music Publishing respectively.

Scott kicks off 2019 with the gorgeous, Parachutes and A Rush of Blood to the Head-era Coldplay-like “Walk a Wire.” Centered around Scott’s plaintive vocals, a soaring hook and spectral arrangement of acoustic guitar and atmospheric electronics, the song is inspired by a friend of Scott’s, who had a disability and out of fear of rejection and heartbreak, closed herself away. And as a result, the song is a plea to the listener to take a chance and open up to life and possibility.

 

 

 

 

 

With the release of last year’s debut EP The Call, the Paris-based electro pop duo SACRE, which is comprised of Hawaii and Sukil, burst into the international scene, as the EP received praise from the likes of Billboard, The Line of Best Fit, Clash Magazine, Impose Magazine, Earmilk and others, as well as a co-sign from Pharrell Williams. Building upon a growing, buzz worthy profile, their follow-up single “Lemonade” reached #2 on the Hype Machine charts — and their debut EP received the remix treatment, featuring remixes from Gigamesh, the Victoires de la Musique-nominated Elephanz, Chopstick & JohnJon, JOVM mainstay Uppermost and NTEIBINT.

Slated for a December 2019 release, the duo’s highly-anticipated, full-length debut Love Revolution will further cement the duo’s reputation for being full-circle creators, who write, sing, produce design everything related to their musical project with the album reportedly finds the members of SACRE meshing music, photography and narrative storytelling with each track of the album telling the story of 12 different characters over the course of 12 hours. The album’s fourth and latest track “10:00PM FIRE IRAE (which translates into “fire wrath”) is a sultry and propulsive trance-inducing, house banger, centered around layers of shimmering and arpeggiated synths, thumping beats, tweeter and woofer rocking low end, sultrily delivered ethereal vocals and a soaring hook — and while bearing a resemblance to Giorgio Moroder, Daft Punk, and Kylie Minogue, the song is set at 10:00pm. Bebe, the star of the evening, appears on stage. The crowd cheers for a moment, then hushes, hypnotized by her fire dancing, with her performance ending with Bebe triumphantly setting the entire bar on fire. Show over, time to go home, now — with the crowd slack jawed and with that space cadet glow, as an old song says.

 

 

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