By Mary Chang
on Thursday, 17th April 2014 at 4:00 pm
Sometimes the best results come out of spontaneous activity. Such is the case with Oxford band Spring Offensive‘s impromptu decision to tackle Drake’s ‘Hold On, We’re Coming Home’ and film it last minute on their smartphones. I really like this cover. Watch it below.
Earlier this month, we posted the band’s latest promo video for ‘Bodylifting’, which you can watch here.
English singer/songwriter Daniel Pearson has just released a new EP, ‘Escape Acts’, leading into his appearance at Live at Leeds next month. In his recent interview with us, Pearson described ‘Escape Acts’ as an intermediate step between albums and an opportunity to fine tune a couple of his previous recordings. Along with two reworked tracks, the EP is bookended by two new tracks intended to whet the appetites of his growing audience.
The songs on ‘Escape Acts’ are somewhat varied in terms of musical style, but Pearson has pointed to the lyrical theme of “escaping or wanting to escape” as a unifying factor on the EP. Opening track ‘Lost My Way’ (video below) is a fairly straightforward rock number with a punchy “na-na-na” chorus. The lyrics in its verses reflect Pearson’s struggles as an indie artist, “Tell me I’ll never eat lunch in this town again / I need to be told everything twice / Keep your enemies closer than your friends / I got sick of taking bad advice”.
‘Promises Promises’ is a tighter, cleaner version of the guitar-driven, blues rock-flavored track ‘Promises’, from 2012 release ‘Mercury State’. The vocals are featured more prominently in the sound mix of the new version, which I felt was a step in the right direction for a writer whose lyrics are really the distinguishing factor in his music. Pearson similarly focuses on the poignant lyrics of ‘Satellite Town’, giving it a little more space and vocal expression here than in the original version from 2011’s ‘Satellites’. New track ‘I Dug Myself a Hole’ has a bit of a country twang behind its electric guitar riff and a haunting backing vocal in the final chorus, which finally hits Pearson’s emotional mark at the very end of the EP.
‘Escape Acts’ is a solid group of songs that gives a nice taste of what Pearson is capable of as a songwriter. The simplicity and emotional value of the lyrics is appealing, but the unadorned melodies and sparse instrumental arrangements left me wanting more from Pearson’s rather detached vocal delivery. In spite of that, his lyrics do strike an emotional chord, and the raw authenticity of these songs is certainly the strong point of both the new and revised recordings.
‘Escape Acts’ is out now on Saint In The City Records.
By Mary Chang
on Thursday, 17th April 2014 at 10:00 am
So you’re telling me you want 1) charismatic vocals, 2) mesmerising synths and 3) equally mesmerising guitars, all in one song? Glass Caves must just be the one for you today. There’s not a whole lot of information on the band’s Web site – I don’t even know where they’re from – but on the strength of this song they’re giving away for free, ‘Out of Control’, I am intrigued enough to post it here on TGTF. Listen to and grab it for your very own below.
Oh, and if epic hair is your thing, this band has the very high likelihood of knocking Temples off their pedestal. Just saying.
By Mary Chang
on Wednesday, 16th April 2014 at 6:00 pm
Trust the rebellious lads of The Wytches to film a video on a $200 budget and make it strangely compelling. ‘Robe for Juda’ shows off the Peterborough band’s cross of screamo with psych pop, and given the song’s down and dirty nature, a sparkling, bright video just wouldn’t do. So in that respect, this promo in which the band are messing about like kids in a school auditorium makes sense. Watch it below.
By Mary Chang
on Wednesday, 16th April 2014 at 4:00 pm
I don’t know about you, but in DC this morning, we had sub zero temperatures. So this new documentary-style video via Adio Marchant – better known at the moment under his solo stage name Bipolar Sunshine – from his time at SXSW 2014 couldn’t have come along at a better time. Sun, shades, good tunes…man I miss Austin!
By Mary Chang
on Wednesday, 16th April 2014 at 12:00 pm
We’ve been keeping an eye on young Halifax band the Orielles since Martin caught them at Liverpool Sound City last year in the wee hours of Thursday night into Friday morning and my own serendipitous run-in Saturday afternoon with the Hand-Halford sisters (Esme-Dee on vocals/bass, older sister Sid on drums) at the Brink cafe. Just a few weeks ago, the band released their second EP, their first under their new moniker The Orielles, after having shed their original name The Oreoh!s, ‘Hindering Waves’ (video for title track in this previous Video of the Moment). Definitely ones to strike while the iron is hot, they quickly followed up this release with several high-profile support slots, including two sold-out shows at the London Lexington where they opened for the Primitives the first weekend of April. But now we can focus back and squarely on the band again, for they have a new single out the 12th of May called ‘Entity’.
At first glance, ‘Entity’ seems a quite weighty title for a trio of young people still too young for university and sounds like it could have been a b-side on Delphic‘s debut ‘Acolyte’ alongside other one-word standouts ‘Halcyon’ and ‘Submission’. Beginning with a uniquely smooth bass line that sounds somewhere in between the Breeders’ ‘Cannonball’ and Presidents of the United States’ ‘Peaches’, the words then begin, and in my view, they’re pretty snarky: “you are so dead but still in my mind / a voice in my head so hard to define”. Whoever Esme-Dee Hand-Halford is singing about, the person is either physically dead or not real. See what we were saying about them being wise beyond their years? Mind. Blown.
But what’s holding this all together is the second verse: “File your face like you file a letter, at the back like a winter sweater / I like you, it’s pure and plain to see / I like you, but you’re an entity”. The title ‘Entity’ seems to suggest this person, the object of her affection, isn’t a person at all, or lacking things that make a person human, such as proper emotions, or at least manners and consideration. If you’re looking at the word ‘entity’ itself in plain semantics, an entity is generally inanimate, which I think is what the lyrics are trying to get at, and the very chill vibe of the song reflects this.
The second verse is describing the difficult process of putting someone out of your mind. It must be difficult, because the female protagonist has to describe exactly what she’s doing – filing him away, and far enough in the back where she doesn’t think about him – and if it was easy and came second nature to her, she wouldn’t be describing the process to us, would she now? Esme-Dee Hand-Halford’s vocals are measured, as if she’s trying to hold emotions in, while she and guitarist Henry Wade providing backing vocals repeat in between the verses and at the end, “I don’t see you anymore, I don’t…but I don’t mind, boy, I don’t care at all”. But does she really not care at all? Somehow, I think she’s trying to be strong…
But it’s packaged with such a memorable melody! You won’t forget this one. Any way you slice it, ”Entity’ is a wonderful piece of pop, bright yet cool, and it makes me eager to hear what else these young, brilliant and talented minds come up with next.
The Orielles’ next single, ‘Entity’, will be released by Scruff of the Neck Records on the 12th of May. I’ve been told a promo video for the single will be coming very soon. The band will be having a launch party for the single on Saturday the 26th of April at Manchester Deaf Institute. They will also be appearing at the Shipping Forecast on Friday the 2nd of May during Liverpool Sound City and the Packhorse on Saturday the 3rd of May during Live at Leeds.