Tag: Latitude Festival

Rosie Carney is a Hampshire, UK-born, Donegal, Ireland-based singer/songwriter and guitarist. Inspired by the rugged and picturesque landscapes of her adopted home, Carney began writing music — and when she turned 15, she left school to showcase her work in New York and Los Angeles, and shortly thereafter was signed to a major label.  In 2013, the British-born, Irish-based singer/songwriter and guitarist added to a rapidly growing profile with a performance on Ireland’s leaning live music TV series Other Voices, as well as sets at Bushstock Festival, Latitude Festival, Electric Picnic Festival, Seven Layers Festival and SXSW. Additionally, Carney opened for Haux on a 28-date tour of 12 countries that included stops in the US and Canada.

While navigating a meteoric rise to national and international attention, Carney grappled with depression and an eating disorder, both a result of deep personal trauma. Simultaneously, she struggled to assert herself creatively in the major label system as she faced pressure to co-write and change her name — before leaving the major label system altogether. Carney’s highly-anticipated debut album Bare which features her collaboration with Lisa HanniganThousand,” is slated for a January 25, 2019 release through Akira Records is reportedly informed by the twists and turns of her professional an personal life, while further cementing her growing reputation for writing material that’s cathartic and empowering.

Bare‘s latest single is the  gorgeous “Orchid” which is centered around a soaring string arrangement, strummed acoustic guitar, Carney’s achingly tender vocals, a simple backbeat and some additional tremolo guitar that thematically seems to focus on a profound, inconsolable loss. As Carney mentions in press notes, As the song developed, I saw the opportunity to really expand beyond my usual production and it’s now the most layered song on the album, with strings, drums, tremolo guitar etc. I could just hear the strings while working on the demo and when it came time to actually track them, we used Radiohead’s “Nude” and some of Lana Del Rey’s dreamier tracks as a reference—two artists that are huge influences on me.”

 

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Now, over the past few years, I’ve written quite a bit about Copenhagen, Denmark-based electro pop duo and JOVM mainstays Palace Winter, and the act, which features Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Caspar Hesselager can trace its origins to Coleman and Hesselager’s mutual familiarity and appreciation for each other’s work in a number of different projects — and naturally, the duo were encouraged to collaborate together. 2015 saw the release of their debut single, but 2016 the duo saw critical praise from The Guardian, NME, The Line of Best Fit, and airplay from KCRWKEXPNorway’s P3, Denmark’s P6, as well as by BBC Radio personalities Guy Garvey, Lauren Laverne and Tom Ravenscroft with the release of the Medication EP and their full-length debut Waiting for the World to Turn.  Adding to a growing international profile, Coleman and Hesselager have a Hype Machine #1 single under their belts, have opened for Noel Gallagher, and have made appearances across the European festival circuit, including sets at Guy Garvey’s curated Meltdown FestivalRoskilde FestivalGreen Man FestivalSziget FestivalLatitude Festival and Secret Garden Party among others.

Nowadays, the Australian-Danish duo’s sophomore album was released earlier this year and from album singles “Empire,”  “Come Back (Left Behind),” “Baltimore,” and “Take Shelter,” their sophomore album reveals an act that has managed to expand upon their sound and songwriting approach in a subtle yet decided fashion as the material is centered around Coleman and Hasselager’s penchant for pairing at times breezy, melodic and downright radio friendly pop with dark and sobering thematic concerns — with Nowadays, their material focuses on the inevitable loss of innocence as one truly becomes an adult; the recognition of the fear, freedom and power that comes as one takes control of their life and destiny; the tough and sometimes embittering life lessons that get thrown in your way; as well as the inconsolable grief and confusion of loss. Interestingly, the Australian-Danish duo’s latest single “Acting Like Lovers” may arguably be one of the upbeat songs on the album as its centered by a production that manages to be simultaneously cinematic and intimate as it features strummed acoustic guitar, shimmering and arpeggiated synths, a motorik-like groove and their uncanny ability to craft breezy, 70s AM rock-like melodies. The song hints at a sense of closure — but with the subtle recognition that in life there is no such thing as closure, that life inevitably shoves you forward while you make every attempt to pick up the pieces and have some semblance of normalcy.

The single features two covers — the duo’s breezy, Junip-like take on Elliott Smith’s “Christian Brothers,” that feels like a subtle departure from the original, and one of my favorite songs by The Cars, “Drive,'” which manages to maintain the song’s moody and contemplative air. As the duo’s Caspar Hesselager explains, Elliott is someone who has influenced both me and Carl profoundly, and for me personally (growing up mostly with classical music and jazz) he became the guy that got me into listening to songwriters. We’ve often jammed his songs in the studio for fun and our cover of his song ‘Christian Brothers’ has been a favourite encore of ours on many shows. It’s from his second album ‘Elliott Smith’ which along with the debut album is him at his most lo-fi and raw. It’s almost ‘anti-produced’ but as always you can’t keep those songs from burning right through all of that.” The duo’s Carl Coleman elaborates on their cover of The Cars’ “Drive,” “This was a song that always followed me around growing up in the 80s and 90s. I’m a sucker for sad pop songs. I’ve just always been attracted to melancholy stuff and this song has it all. All that drama and mystery plus a beautiful simple melody. Hell, we couldn’t help but have a crack at it.”

 

 

 

Live Footage: JOVM Mainstays Palace Winter Return with an Enormous Yet Intimate Ballad on Mortality

Over the couple of years, I’ve written quite a bit about Copenhagen, Denmark-based electro pop duo and JOVM mainstays Palace Winter, and the which is comprised of Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager can trace its origins to the Coleman and Hesselager’s mutual familiarity and appreciation for each other’s work in a number of different projects, which eventually encouraged the duo to begin collaborating together. And while 2015 saw the release of their debut single, 2016 was a breakthrough year as their  EP Medication and their full-length debut Waiting for the World to Turn were released to critical praise from the likes of The Guardian, NME, The Line of Best Fit, and airplay from KCRW, KEXP, Norway’s P3, Denmark’s P6, as well as by BBC Radio personalities Guy Garvey, Lauren Laverne and Tom Ravenscroft. Adding to a growing profile, the duo have a Hype Machine #1 single under their belts, have opened for Noel Gallagher, and have made appearances across the European festival circuit, including sets at Guy Garvey’s curated Meltdown Festival, Roskilde Festival, Green Man Festival, Sziget Festival, Latitude Festival and Secret Garden Party among others.

Building upon a rapidly growing international profile, Coleman and Hesselager released their sophomore album together Nowadays earlier this year, and singles “Empire,”  “Come Back (Left Behind)” and “Baltimore,” the album reveals that the act has subtly expanded upon their sound and songwriting approach with Coleman and Hasselager pairing breezy, melodic and radio friendly pop with darker thematic concerns — in particular, the loss of innocence as one becomes an adult, with tough and often sobering life lessons; the recognition of the fear, the freedom and the power that comes as one takes control of their life and destiny. But along with that the material focuses on the grief of loss — after all, life is ultimately about accepting immense, inconsolable loss and somehow figuring out how to move forward, even if its fits and starts; and the confusing push and pull between love and lust and the resulting remorse, anxiety, and bitterness. 

“Take Shelter,” Nowadays’ latest single is centered by a dramatic and enormous piano riff, shimmering synths and a soaring hook — and interestingly, the song manages to accurately capture the dichotomy of intimately felt emotions and thoughts inspired by the enormity of life-altering situations; in fact, the song is a ballad about death and grief, and the emotional and mental shelters we make for ourselves as a way to cope with inconsolable loss. As the duo’s Carl Coleman says of the song  “It started with that beat and Caspar’s piano riff which felt kinda urban and like a place we hadn’t really explored yet. Then that droney vocal melody just kinda popped straight into my head. I felt the urgency immediately and knew it was a keeper. Some songs are like pulling teeth but this one was like a light-bulb moment.”

Coleman and Hasslelager, along with touring members Jacob Haubjerg (guitar) and Jens Bach Laursen (drums) went to The Village Recording to film an extensive life session of the entire band performing material off the album, and this version of “Take Shelter” is from that session — and each video has revealed that Coleman and Hasslelager have written earnest, swooning and heartfelt material that’s enormous yet intimate, and crafted in a way that brings 70s AM rock to mind.  

Live Footage: JOVM Mainstays Palace Winter Perform Moody Album Single “Baltimore” at The Village Recording

Over the past few years, I’ve written a bit about the Copenhagen, Denmark-based electro pop duo and JOVM mainstays Palace Winter, and as you may recall the act, which is comprised of Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born, Copenhagen-based producer and classically trained pianist Caspar Hesselager can trace its origins to the individual members of the group having a mutual familiarity and appreciation for each other’s work in a number of different projects. And as a result, the duo were encouraged to start collaborating together. 2015 saw the release of their debut single but the following year was their breakthrough year, as their debut EP Medication and their full-length debut Waiting for the World to Turn were released to critical praise from the likes of The Guardian, NME, The Line of Best Fit, and airplay from KCRW, KEXP, Norway’s P3, Denmark’s P6, as well as by BBC Radio personalities Guy Garvey, Lauren Laverne and Tom Ravenscroft. Adding to a growing profile, the duo have a Hype Machine #1, have opened for Noel Gallagher,and have made appearances across the European festival circuit, including sets at Guy Garvey’s curated Meltdown Festival, Roskilde Festival, Green Man Festival, Sziget Festival, Latitude Festival and Secret Garden Party among others.
Building upon a rapidly growing international profile, Coleman and Hesselager released their sophomore album together Nowadays last month, and album single “Empire” revealed a band that had been subtly expanding upon their sound and songwriting, as the single found the band pairing breezy, melodic, radio friendly pop with much darker thematic concerns — in particular, the loss of innocence and the tough, sobering life lessons of adulthood but also, the recognition of the freedom and power that comes as one takes control of their life. “Come Back (Left Behind)” was loosely inspiredly the major motion picture, The Witch while dealing with themes of grief and yearning. And as the band’s Carl Coleman adds, the song has the duo moving the focus away from the acoustic guitar and finds them employing the use of piano and 12 string electric — and while propulsive and danceable, the song managed to sound as though it were released in 1985. 

“Baltimore,” Nowadays’ latest single is a bit of a return to form for Coleman and Hesselager as the moody track is centered around strummed acoustic guitar, shimmering and arpeggiated synths, and propulsive rhythm section with Coleman’s plaintive vocals. Interestingly, the song delves into feelings of being suffocated by love, followed by remorse, frustration, bitterness and anxiety. 

Recently, the band along with touring members Jacob Haubjerg (guitar) and Jens Bach Laursen (drums) performed “Baltimore,” at The Village Recording, and visually, the live session further evokes the song’s moodiness and overall themes — while giving the viewer a sense of their live set. 

Perhaps best known as a founding member, primary songwriter and frontwoman of renowned indie rock act Howling Bells, along with Glenn Moule (drums), her brother Joel (lead guitar) and Gary Daines (bass guitar), the Sydney, Australia-born, London-based singer/songwriter and guitarist Juanita Stein has developed a reputation as a solo artist of note with the release of last year’s solo debut America, an album that thematically focused on the iconography and cultural landscapes of a country that had always fascinated her from afar.

Slated for an August 31, 2018 release through Nude Records, Stein’s sophomore album, Until The Lights Fade will further cement her long-held reputation for crafting twangy and old-timey country-tinged indie rock — but this time, the album thematically speaking is concerned with thoughts, feelings, stories and characters rooted far closer to home. “I feel like the two albums are different sides of the same coin,” Stein explain. “If America was the starting point of a journey — the musical equivalent of me spreading my wings, but also treading carefully, trying to figure myself out having come from such an intense period of camaraderie in the band; then this record is me starting to gain a bit more traction, feeling more confident in where I’m coming from and what is I’m doing.” When the opportunity arose last year to spend a week in Austin, TX with Stuart Sikes, who has worked with Cat Power, The White Stripes, Loretta Lynn, Stein grabbed it. “When you reach a certain point in life and moments like that appear, you have to go with it. Up ’til now, everything I’ve done has been planned and laboured over, but this album was very impromptu, very spur of the moment — a couple of the musicians I was working with, I had only met for the first time that week. It was like nothing I’d ever done before.” Naturally, that impromptu nature of the recording sessions wound up influencing the material’s overall sound — and with album single “Easy Street,” there’s a ramshackle and free-flowing vibe that underlies the material’s deliberate attention to craft that brings to mind 70s AM radio rock, thanks in part to the song’s anthemic hooks, twangy power chords. As Stein says of the song, “‘Easy Street’ was written very immediately. Everything about it felt intuitive and direct. Touring the songs off America for the last couple of years has given me some unique insight into people and their situations. You’re clocking up some good miles across various cities and countries, you see people getting by, doing what they can, being inventive with their realities. Hope/desperation isn’t limited to geography, everyone’s looking for an easy way out essentially. This song is about someone running from their reality and trying to find a better life for themselves.”

Adding to a growing profile as a solo artist, Stein had a recent run of dates opening for The Killers that included a SXSW stop — and since then she’s toured with renowned Roxy Music frontman Bryan Ferry, made some stops across the international touring circuit that included Latitude Festival, Green Man Festival, and Black Deer Festival. Building up buzz for her sophomore effort, Stein will be playing a number of dates across the UK. Check out the tour dates below.

Tour Dates 
24th     June     Black Deer Festival, Tunbridge Wells
8th       July      TRNSMT Festival, Glasgow
14th     July      Latitude Festival, Southwold
20th     July      Spain, Benicassim Festival
24th     July      Finland, Helsinki Arena (with The Killers)
26th     July      Luxembourg, Esch-sur-Alzette, Rockhal (with The Killers)
18th     August Green Man Festival, Crickhowell

Over the past three years or so, I’ve written a bit about the Copenhagen, Denmark-based electro pop duo Palace Winter, and as you may recall, the act, which is comprised of  Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born and-based producer and classically trained pianist Caspar Hesselager can trace their origins to a mutual appreciation for each other’s writing styles and a familiarity with each other’s work through their involvement in a number of different projects individually — and of course, the duo were encouraged to start writing material together.

2015 saw the release of their debut single, which followed-up with 2016’s debut EP Medication and their full-length debut Waiting for the World to Turn, all of which were released through Copenhagen-based label Tambourhinoceros to critical applause from the likes of The Guardian, NME, The Line of Best Fit, and airplay from KCRWKEXPNorway’s P3, Denmark’s P6, as well as by BBC Radio personalities Guy Garvey, Lauren Laverne and Tom Ravenscroft. Oh, and let’s not forget, they have a Hype Machine #1 under their belts. Adding to a growing profile, they’ve opened for Noel Gallagher, played sets on the European festival circuit, including Meltdown Festival curated by the aforementioned Guy Garvey, Roskilde FestivalGreen Man FestivalSziget FestivalLatitude Festival and Secret Garden Party among others.
Building upon a rapidly growing internationally recognized profile, the members of the Danish pop act will be releasing their sophomore album Nowadays on May 4, 2018 — and interestingly enough, album single “Empire” found the band pairing breezy, melodic and radio friendly pop with mark darker thematic concerns — in particular, the song focused on the loss of innocence and the tough, and sobering life lessons of adulthood, with the recognition of the freedom and power of taking charge of your life. The album’s latest single “Come Back (Left Behind)” will further cement the band’s reputation for incredibly upbeat and anthemic radio friendly pop that sounds decidedly inspired by buoyant, 80s synth pop but with darker lyrical and thematic concerns; in fact, as the duo note, the song focuses on the challenges of anxiety, of coming to terms with the loss of a lover, whose ghost seems to pervasively linger, and the feeling as though you’ll never escape the grief. As Carl Coleman explains, the song is “loosely inspired by the recent horror film The Witch. I loved the imagery in that movie and the idea that there was some sort of unknown darkness hidden in the woods. I wanted to merge that imagery with something personal and that’s where the themes of grief and yearning came up”,
Coleman adds that the song finds the duo moving the focus away from the acoustic guitar to try to get the drive from somewhere else like the piano lines and the jagged 12-string electric, and while being propulsive and downright danceable, the song sounds as though it could have been released in 1985 or so.

Palace Winter is a Copenhagen, Denmark-based electro pop duo, comprised of Australian-born, Copenhagen-based singer/songwriter Carl Coleman and Danish-born and-based producer and classically trained pianist Caspar Hesselager. Individually, Coleman and Hesselager have played in a number of different bands over the years, but they were familiar with each other, and along with a mutual appreciation of a strong melody and melodic sensibility, and a mutual appreciation for each other’s writing styles, the duo were encouraged to start writing together.

2015 saw the release of their debut single, which followed-up with 2016’s debut EP Medication and their full-length debut Waiting for the World to Turn, all of which were released through Copenhagen-based label Tambourhinoceros to critical applause from the likes of The Guardian, NME, The Line of Best Fit, and airplay from KCRW, KEXP, Norway’s P3, Denmark’s P6, as well as by BBC Radio personalities Guy Garvey, Lauren Laverne and Tom Ravenscroft. Oh and let’s not forget, they have a Hype Machine #1 under their belts. Adding to a growing profile, they’ve opened for Noel Gallagher, played sets on the European festival circuit, including Meltdown Festival curated by the aforementioned Guy Garvey, Roskilde Festival, Green Man Festival, Sziget Festival, Latitude Festival and Secret Garden Party among others.
Building upon a rapidly growing international profile, the members of Palace Winter will be releasing their sophomore album Nowadays on May 4, 2018 and the album will further cement the duo’s reputation for crafting atmospheric and melodic synth pop that decidedly nods at 80s synth pop and Junip, as their material is largely centered around ethereal synths/keys, strummed rhythm guitar and an insistent, propulsive beat
as you’ll hear on the album’s latest single “Empire.” However, underneath the breezy, radio friendly yet cinematic air is material that thematically focuses on the loss of innocence and the tough, and sobering life lessons of adulthood — but with the recognition of the freedom and power of taking charge of your life.

 

 

New Video: The Mischievous and Surreal Visuals for Sigrid’s Club Banging, New Single “Strangers”

Sigrid is a 21 year-old, Ålesund, Norway-born, Bergen, Norway-based pop artist, who with the release of her acclaimed debut EP Don’t Kill My Vibe earlier this year, has quickly become an international pop sensation — her EP has amassed more than 100 million streams globally, and as a result she’s played a number of major festivals, including Glastonbury, Latitude, SXSW, Life is Beauriful, Lollapalooza and Pitchfork Paris. Adding to a growing profile, the Norwegian pop artist was chosen as Apple’s Up Next Artist.

The Norwegian pop sensation ends 2017 with the Martin Sjolie-produced single “Strangers” and the track pairs a slick, club-banging yet radio-friendly production featuring layers upon layers of arpeggiated synths,  tweeter and woofer-rocking beats and a soaring hook, paired with Sigrid’s gossamer vocals. Lyrically, the song looks at a a relationship and its inevitable end with a stark and startlingly mature honesty, as the song’s narrator recognizes that love in real life, is never like the movies — that it can be fumbling, awkward and ambivalent, leaving you with more unanswered questions than you ever expected; and that worst yet, despite the connection you may have had with that person, once that relationship is over, you’ve become strangers, much like when you first met that person.

Directed by Ivana Bobic, the recently released video follows the young Norwegian pop artist as she performs the song on a stark yet surrealist set, which spirals and reforms with completely different and strange scenery throughout the video. As Sigrid explained to i-D about the video.”It was a joy making it. We wanted to take the feeling of seeing differently to what they really are. The one thing that is realistic is me dancing around in my usual way.”