Tag: The Line of Best Fit

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”.

Advertisements

 

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.

 

 

s

New Video: Up-and-Coming Singer/Songwriter Minke Releases an Emotionally Honest Visual for Anthemic “Too Late”

Over the past year or so, I’ve written a bit about the London-born and-based based singer/songwriter and musician Minke (pronounced as to rhyme with the word “link”), and as you may recall with the release of singles “Gold Angel” and “Armour,” the British singer/songwriter and pop artist quickly became a buzz-worthy artist: “Gold Angel” received airplay on Zane Lowe’s Beats 1 Radio show, was featured on Spotify‘s New Music Friday and Pop Rising playlists and was a Hype Machine #1  — within a two week period. The Line of Best Fit  praised “Gold Angel” for its “elements of pop, rock, soul and R&B,” and “guitar riffs mingled with understated vocals like curls of smoke in a darkened bar” — while “Armour” was praised by Billboard, who said the song was “a female empowerment anthem about letting go of your defenses and learning how to be vulnerable, especially with those closest to you.”

Minke released her highly-anticipated debut EP The Tearoom last month, and from the soulful and self-assured “Maybe 25,” the up-and-coming British singer/songwriter revealed an uncanny ability to powerfully heartfelt and emotionally honest songs with soaring and anthemic hook. Continuing in a similar vein, The Tearoom’s second later single “Too Late” is centered around an enormous, shout along worthy hook and an unvarnished, lived-in emotional honesty — in particular, the bitter pettiness, ambivalent feelings and fury that’s inherent in a dysfunctional relationship and a nasty, heart wrenching breakup. 

“This was a moment after a bad breakup that I needed to get out of my system,” the up-and-coming British singer/songwriter and musician explains in press notes. “I was trying to rationalize it and take the high road but knew what had happened was wrong, so I was annoyed and reveling in the petty, just for a second. Thank you, next.”

Directed by actress, comedian and director Aisha Taylor, the recently released video stars Minke and Baby Daddy star Jean-Luc Bilodeau as a couple waiting for a train in a metro station, and the video manages to capture the ambivalence, bitterness, confusion and pettiness at the heart of the song.  As Minke says of the video “The ‘Too Late’ video was a joy to be a part of, mainly due to the limitless talents of Aisha who thought of the concept, directed and edited the video,” she gushes. “I couldn’t have asked for a more talented and supportive screen partner in Jean Luc to bring this broken relationship alive and I’m proud of the end result. It feels wholly representative of the song as it captures the dizzy confusion I was feeling at the time when I wrote it and I can’t wait for people to see it!” Adds, director, Aisha Tyler, “Minke is a stunningly evocative songwriter. Her music is visceral and emotionally intoxicating — dreamlike melodies encircling a razor’s edge. ‘Too Late’ is so intensely captivating that coming up with a visual language for the video was a delight — all I had to do was let her creativity and rock star quality shine through. We had an absolute blast filming a relatively unseen part of Los Angeles; I can’t wait to do it again in the future.”

New Audio: Minke Releases Her Most Emotionally Honest Song to Date

If you were frequenting this site last year, you may have come across a post featuring the London-born and-based based singer/songwriter and musician Minke (pronounced as to rhyme with the word “link”), and as you may recall with the release of her first tow singles “Gold Angel” and “Armour,” the British singer/songwriter and pop artist quickly became a buzz-worthy artist: “Gold Angel” received airplay on Zane Lowe’s Beats 1 Radio show, was featured on Spotify‘s New Music Friday and Pop Rising playlists and was a Hype Machine #1  — within a two week period. Additionally, the song received praise from The Line of Best Fit for its “elements of pop, rock, soul and R&B,” and “guitar riffs, mingled with understated vocals like curls of smoke in a darkened bar.” “Armour” was released to praise from Billboard, who said the song was “a female empowerment anthem about letting go of your defenses and learning how to be vulnerable, especially with those closest to you.”

Minke’s first single of 2019 “Too Late,” is the follow up to the critically acclaimed “Maybe 25,” and the soulful and self-assured track, which is centered by Nile Rodgers-like guitar, thumping beats. a soaring hook (which she has an uncanny knack for) and an unvarnished, lived-in emotional honesty — the sort of bitter pettiness we all can get caught up in after a nasty breakup. And as Minke explains in press notes, “This was a moment after a bad breakup that I needed to get out of my system. I was trying to rationalize it and take the high road but knew what had happened was wrong, so I was annoyed and reveling in the petty, just for a second. Thank you, next.” 

Her highly-anticipated debut EP The Tearoom is slated for a March 8, 2019 release. She’s been confirmed to appear at this year’s SXSW and from what I understand there will be more tour dates forthcoming. Hopefully, they’ll be a New York City stop. 

Liam Brown, an up-and-coming, Liverpool, UK-based singer/songwriter, multi-instrumentalist, producer and electro pop artist, best known as pizzagirl has become one of this site’s latest mainstays over the couple of months. Now, as you may recall, with the release of the An Extended Play EP earlier this year, Brown was quickly championed by Huw Stephens, Annie Mac and Lauren Laverne, and received praise from DIY, Highsnobiety, Wonderland, The Line of Best Fit and others for an 80s synth pop inspired sound. And adding to a growing profile, Brown opened for acclaimed British act Her’s during their most recent UK tour.

With the release of singles like “highschool,” “gymnasium,” “body part,” off Brown’s soon-to-be released sophomore pizzagirl EP season 2, the Liverpool-based artist further cements a growing national and international reputation for crafting swooningly heartfelt, shimmering synth pop that draws from several decades simultaneously, giving it a decidedly anachronistic sound and feel. “blossom at my feet, flower,” season 2‘s latest single is a classic 80s-inspired power ballad, centered around thumping beats, shimmering synths, chiming guitars, and an anthemic hook. Unsurprisingly, Brown’s latest continues a run of cinematic singles — but unlike its predecessors, it’s the most prom-like, evoking teenaged hopes, desires and dreams with a novelistic detail to psychology and the psychological state of his narrators.

Deriving their name from the Icelandic explorer, believed to be the first Westerner to reach the shores of the Americas, the London-based indie rock quintet Leif Erikson, comprised of Sam Johnston, Oliver Wright, Tom Leader, Greg Austin and Giles Robinson, can trace their origins to the breakup and reunion (of sorts) of the band’s previous iteration, Flashguns. The band’s self-titled debut effort was released last year to critical praise from the likes of StereogumClash Magazine and The Line of Best Fit.

The British quintet’s latest single, the shimmering and atmospheric “Matter” is the first bit of new material since their self-titled effort, and is a bit of a taste of what to expect from a forthcoming EP slated for release early next year. Interestingly, the track is a bold step forward for the band as it finds them gently pushing their sound in a new direction, with the song nodding towards 70s AM radio rock while retaining a cinematic quality; thanks in part to an arrangement featuring dramatic piano arrangement, shimmering guitar lines, shuffling drumming and Johnston’s soulful crooning. But underneath the easy-going self-assuredness of the song, Johnston’s narrator find himself asking much larger questions about life and time, which he recognizes he won’t have easy answers for.

As the band’s Sam Johnston explains in press notes, the song was the band’s attempt “to capture something esoteric about life’s purpose, about making the right choices and following the path that is right for you. What it is to be human and be given this existence that is such a bizarre miracle, but can also be full of pain and struggles. Are there any clues within the infinite universe, a tiny blip of which we occupy or is everything simply the product of chaos? We were very inspired by Curtis Mayfield‘s album ‘Roots’ when thinking about ‘Matter’. He so effortlessly makes these incredible statements about life and society over these stunning, super funky musical arrangements.”

 

 

Over the past couple of months, I’ve written a bit about Liam Brown, an up-and-coming Liverpool, UK-based singer/songwriter, multi-instrumentalist, producer and electro pop artist, best known as Pizzagirl. Now, as you may recall, with the release of his debut EP An Extended Play earlier this year, Brown was quickly championed by Huw StephensAnnie Mac and Lauren Laverne, and received praise from DIYHighsnobietyWonderlandThe Line of Best Fit and others for an 80s synth pop inspired sound. And adding to a growing profile, Brown opened for acclaimed British act Her’s during their most recent UK tour.

Building upon a growing profile and growing buzz, Brown’s sophomore Pizzagirl EP season 2 is slated for a November 2 release, and from the EP’s first two singles “highschool” and “gymnasium,”  Brown will further cement a reputation for crafting swooningly heartfelt, shimmering synth pop that draws from several decades simultaneously; in fact, both singles brought the likes of Washed OutSt. Lucia and Tears for Fears to mind. “body part,” the EP’s latest single while clearly bearing an uncanny resemblance to its predecessor, the song finds Brown successfully walking a difficult tightrope of an oversized, larger-than-life cinematic feel with an emotional intimacy that continues to evoke the very  urgent emotions and thoughts of being a teenager in love.

Deriving their name from one of the more vigorously outre films by Japanese animation studio Studio GhibliPom Poko is an up-and-coming Norwegian quartet, comprised of Ragnhild (lead vocals), Ola (Drums), Jonas (Bass) and Martin (guitar). The members of the band can trace their origins back to about 18 months ago when they met while they were all studying at Trondheim Music Conservatory.  Interestingly, the members of the band cite a wide and eclectic range of influences on their sound including Oumou Sangare, Ali Farka Toure, Vulfpeck, Palm, KNOWER, Hella, Death Grips, Jenny Hval and Nick Drake among others. Interestingly, they manage to defy easy description or categorization, as well as anything resembling a prescriptive approach. “We’ve all done lots of improvised music in the past, and I think that shapes the way we play, even though the tunes are not improvised. We like when new and strange things happen in an old song, and that music can change over time by being played live, because that removes predictability and the ‘recipe’ that some genres of music have.”

With the release of their first three officially released singles, the up-and-coming Norwegian band have received attention both nationally and internationally, receiving praise from the likes of Interview Magazine, The Line of Best Fit, The Independent, Clash Magazine, DIY Magazine and NME, who picked the band as one of the acts to watch out for this year. Building upon a growing profile, the band’s full-length debut effort Birthday is slated for a February 22, 2019 release through renowned indie label Bella Union Records. And the album’s latest single is the breakneck, math rock meets indie rock “My Blood,” which is centered by an arrangement featuring rapid-fire time signature changes, key and tone changes, thunderous drumming, enormous heavy metal-like power chords and a gorgeous melody underpinning it all. Sonically, the song strikes me as an amalgamation of The Cardigans, Cinemechanica and Bo Ningen while sounding (and being) wildly inventive.

 

 

 

 

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.”

 

 

 

New Video: JOVM Mainstay Eliza Shaddad Releases 90s Rom-Com Inspired Visuals for “Just Goes To Show”

With the release of her first two EPs Run and Waters, the London-based singer/songwriter and guitarist Eliza Shaddad quickly rose to international prominence, receiving praise from a number of major media outlets including The Fader, Nylon, Stereogum, The Line of Best Fit, The Independent, Clash, The 405, as well as airplay from BBC Radio 1, BBC Radio 1Xtra, Beats 1 Radio and countless others for a sound that some have compared to the likes of PJ Harvey, Cat Power and others.

Over the past few years, I’ve written quite a bit about the acclaimed British singer/songwriter, and as you may recall, Shaddad’s highly-anticipated full-length debut Future is slated for an October 26, 2018 release through Beatnik Creative. Earlier this year, I wrote about Future‘s second single “My Body,” a moody track featuring shoegazer-like atmospherics and a dark, seductive, trip hop-inspired groove that evoked a plaintive and uncertain need. “This Is My Cue” the album’s third single continued in a similar vein as its predecessor — moody atmospherics but centered around a candid and ironically rousing breakup song.

Future‘s fourth and latest single “Just Goes to Show” continues a run of atmospheric tracks with a deceptively anthemic nature but much like its immediate predecessor, the track is deeply confessional and unabashedly honest description of the desperate, uneasy feelings of a breakup –but from the perspective of the person being left behind to deal with the aftermath. And while some have compared the song to The Cranberries,Wolf Alice and Marika Hackman, the song isn’t completely dire as it (subtly) suggests that life and one’s heart does go on after a while.

Directed by Patrick Taylor, the recently released video was shot in one of Shaddad’s favorite venues in London, specifically decorated to fit, along with some willing friends and family as extras “(My little (big) bro is in it, and my cousins, in fact it’s a repeat performance from one:) The costume and hair and make up teams worked total miracles on all of us and then we channeled our inner teenagers and the result is something completely and bananasly different for me.” Of course, the video features Shaddad at a painfully awkward and terrible 90s-like prom, complete with its attendees doing sad two-steps, while the video’s protagonist sit off to the side singing the song before being asked to dance — while capturing the innermost thoughts, desires and frustrations of teenagers. Interestingly, as Shaddad says, the “song has always felt like the kind of thing that would be playing in one of those terrible but incredible 90s movies prom scenes and so I was dying to make a video played on that.”