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It’s been a while since we at TGTF have heard anything from Emmy the Great (aka Emma-Lee Moss), but she has recently dived back into the music scene with a new track called ‘Swimming Pool’. The track is slickly sultry, more heavily produced than Moss’s past work, and features the vocal talents of Wild Beasts‘ Tom Fleming to illustrate what is described in the caption to the accompanying video as “a hologram’s final interaction with its owner”.
‘Swimming Pool’ is the lead single from Emmy the Great‘s upcoming EP, titled simply ‘S’, due for release in January 2015 on Bella Union.
Some things are better raw. A good steak at a French restaurant, par exemple – I believe the phrase is, walk the cow past a fire and cut a bit off. Sushi, being raw fish, is also of course best enjoyed raw. Music at its most raw is normally found during an artist’s infancy, when the band are too down on their arse to afford any frills and fancy production techniques. Or when they have a Foo Fighters-esque renaissance and decide to record everything on analogue in a garage.
Monterey are the former: a band starting out in every way. Even in their stock band photos, the three-piece look a bit awkward and a bit clumsy, as if you can hear their psyche telling them, “just try and look as normal as you can. Oh, make sure that bump in your jeans doesn’t look like you’ve got a rod-on too”. It’s almost as if you’ve asked a cartoon to ‘act casual’ and of course they’re going to either smoke a pipe or look as contrived as possible. But enough of those quasi-awkward situations.
Contrived is as far from where Monterey sits on the scale of genuineness. The lyrics are all brutally honest and relatable, yet without being patronising. From the onset of ‘Can’t Live Like This’, frontman Carter Henry paints a brilliant everyman picture as the band strives to hit all the right notes on their ‘Sailor’ EP. The four song long record is laden with clever changes of pace that demand your attention, and there are even a few choruses with hooks that like to get caught in your grey matter and won’t stop tugging. Ouch, sorry if you’re squeamish.
The licks on ‘The Pit and the Pendulum’ are clever and the New Jersey trio manage to create a soaring soundscape that builds to an impressive crescendo. The title single has a nautical lick to it in the first 10 seconds and builds on to arguably the most anthemic chorus of the short EP, “remember all the times you said that you love me? How come now it’s hard to find the time”. The lyrics may be slightly clichéd, but the delivery of them for the final time smacks of a band who have certainly found their feet and a fair bit of promise on this record.
Certainly ones to watch, if not for hand-on-heart choral delivery, than for a propensity for awkward stock photography.
Monterey‘s new EP ‘Sailors’ is now available from their Bandcamp and iTunes.
Header photo by Dave Willis
Cheltenham six-piece Young Kato have just unveiled the details of their highly anticipated debut LP ‘Don’t Wait Until Tomorrow’, along with a listing of tour dates in support of the album. ‘Don’t Wait Until Tomorrow’ is due for release on the 5th of April 2015, just before the band sets out to play the following live shows, which will include a date at the Camden Barfly in London. Tickets are available now.
Catch all of TGTF’s previous coverage on Young Kato this way.
Tuesday 7th April 2015 – Cardiff Full Moon Club
Wednesday 8th April 2015 – Bristol Louisiana
Thursday 9th April 2015 – Southampton Joiners
Friday 10th April 2015 – Reading Bowery District
Saturday 11th April 2015 – Brighton Haunt
Monday 13th April 2015 – Birmingham Rainbow
Tuesday 14th April 2015 – Leicester Scholar Bar
Thursday 16th April 2015 – Nottingham Bodega
Friday 17th April 2015 – Stoke Sugarmill
Sunday 19th April 2015 – Manchester Sound Control
Monday 20th April 2015 – Liverpool Studio 2
Tuesday 21st April 2015 – Leeds Oporto
Thursday 23rd April 2015 – Hull Fruit
Friday 24th April 2015 – Newcastle Think Tank
Saturday 25th April 2015 – Glasgow Garage Attic Bar
Monday 27th April 2015 – Edinburgh Electric Circus
Thursday 30th April 2015 – London Camden Barfly
Saturday 2nd May 2015 – Gloucester Guildhall
Irish quartet The Coronas have announced a March tour of the UK in support of their upcoming new album ‘The Long Way’, out this week on Island Records. A lengthier follow-up to their sold out October tour, this set of live dates includes shows at Birmingham’s Academy 3 and Manchester’s Deaf Institute before the final date at Koko in London on the 1st of April. Tickets for the following shows will be available starting on this Friday, the 28th of November, at 9 AM.
TGTF knew the Coronas way back when, and you can read all of our previous coverage on them here.
Friday 20th March 2015 – Leeds Wardrobe
Saturday 21st March 2015 – Newcastle Academy 2
Sunday 22nd March 2015 – Aberdeen Garage
Monday 23rd March 2015 – Edinburgh Liquid Rooms
Wednesday 25th March 2015 – Birmingham Academy 3
Thursday 26th March 2015 – Manchester Deaf Institute
Friday 27th March 2015 – Nottingham Bodega
Saturday 28th March 2015 – Bristol Thekla
Monday 30th March 2015 – Portsmouth Wedgewood Rooms
Tuesday 31st March 2015 – Brighton Komedia
Wednesday 1st April 2015 – London Koko
By Mary Chang
on Monday, 24th November 2014 at 6:00 pm
We’re pleased to see The Very Best – singer Esau Mwamwaya and producer Johan Hugo – make a reappearance. Their new single ‘Hear Me’ came from a politically charged place: the pair was in Malawi during the time of the latest presidential election in Malawi and also the 50th anniversary of the country getting their independence from colonial rule. The song soundtracks a beautifully shot – and turns out secretly shot also – time lapse video of Malawi shot by the duo themselves.
A new album is in the works. In the meantime, if you’d like to read more from our previous coverage on the Very Best, come this way.
By Mary Chang
on Monday, 24th November 2014 at 2:00 pm
“Hypnotic. Arabian funeral. Depression in the desert. Sepia rainbows.
“This is the psychedelic nightmare spun by The Wytches, who are spreading their subversive message across the UK in the dark guide of SOS surf riffs, desert riffs, melancholic shuffles and a kaleidoscopic stage performance that will put you under.”
This was the description on the DC9 Web site of Thursday evening’s headliner the Wytches. Quite accurate, I reckon: there is a dark and dangerous undercurrent of subversion to the music of the Brighton-based trio, which initially sounded strange to me, given that they live by the beautiful southern coastline of England. However, I learned on the night that two of their band members are originally from Peterborough; I’ll have to ask our John what the deal is with that place and if it informs the pervading doom and gloom of their sound. But that is neither here nor there: what is far more important to note is that despite my initial impression of the tracks of theirs I heard online and thinking, “is that all?”, the live performance of the Wytches is an interesting, beguiling mixture of swirly guitar and powerful bass and drum beats, delivered with animalistic, raw vocals, and money spent on a ticket to see this band will be worth every last penny.
Further, anyone who has listened to their music before knows of the muscle and raucousness of the group’s sound, but what you will find when experiencing them live is the nuances of brilliant songwriting that might not be immediately apparent to the untrained ear. That is, there is method to this madness. They can write and play a good song, as well as give good show. Isn’t it a truly sad development of popular music that these three things are all too often mutually exclusive these days?
I found myself easily and entirely willingly drawn into the Eastern-tinged melodies of the band, most always delivered alongside a punishing rhythm section. There were moments where I could not help but smile to myself, thinking about my younger years when I thought Led Zeppelin’s ‘Kashmir’ was a pretty cool tune. I’m happy to say that the kind of vibe managed by Led Zeppelin on ‘Physical Graffiti’ has not only been inspirational to a younger generation of musicians, the vibe is been continued. And stretched, modified and improved on.
Past singles ‘Wire Frame Mattress’ and ‘Burn Out the Bruise’ are noteworthy for the anguished screams of guitarist/frontman Kristian Bell and its entirely headbanging-inducing thunder well appreciated by the crowd assembled in Washington. The seductive rhythm of ‘Robe for Juda’, probably better known to most readers of TGTF for its extremely low-budget video, doesn’t fail to bring rapture to tonight’s audience, is a standout at this show too, along with debut single ‘Digsaw’. All the while, you can only be mesmerised by what is enfolding in front of your very eyes: three young men, clearly skilled with their weapon of choice, giving their all and ostensibly, if you pay close attention to the lyrics, giving life what for when it comes to the suffering of relationship-based angst.
‘Weights and Ties’ provides a superb counterpoint, showing the band’s more surf pop, softer side. See, they can play their instruments without pummeling them to death. ‘Wide at Midnight’, characterised by a slower tempo than most of the Wytches’ debut album ‘Annabel Dream Reader’, is another indicator that there is far more here than just loud guitars, loud drumming and wailing. Both tell me that there is still plenty of mileage in the ethos this trio are peddling. More, please.
You might be in luck to catch the band live next week after they return from the States; all the details of their last dates in 2014 are this way.
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