Dorian “Proud”
Like fire, the dancing flame, “Proud” taps into the mysterious crossover of genres. The track is hypnotic, captivating, a bit dangerous, and fierce. It seems to be channeling something primal and ancient, something that is untamed yet so deeply connected to nature, our own artistic intuition and the comic power. “Proud” is in a sense chaotic and sensual, where the fascination of electronic pop meets hip hop and R&B in a subtly daring intrigue.
Dorian is quite an extraordinary artist. Guided by his artistic intuition, his delivery is masterfully graceful and aesthetically authentic, blending the genres with style and passion. The captivating entrancement might be the first thing listeners notice about “Proud,” but intricate and brilliantly woven intrigues and non-linear storytelling is simply spectacular.
The music video of “Proud” sets in a vibrant natural atmosphere, where this profound connection and mystic in his music is even more expanded. In the music video, Dorian is in his most authentic self. His artistic style comes with minimalism and color instinct that feels like another layer of storytelling adding into his work.
“Proud” belongs to Dorian’s recent album The Arrival, a two-part collection of original tracks. In there, he dives further more into highly relatable themes with rich emotions and depth. A touch of destiny is throughout his music somehow. An aspect almost feels like his music itself is highly intuitive.
Saucy Posse ‘Sparky's Bargain Warehouse’
Saucy Posse is certainly a band that doesn’t come around very often in the music scene. One thing they do that’s absolutely admirable is their everchanging, almost unpredictable sense of curiosity and passion in the well-defined genres. Through their music, listeners are being re-introduced to the genres of funk, rock, punk, jazz, and pop through a different lens, a new perspective, almost as if falling in love all over again.
Their music certainly is a mixture of punk rock and experimentation. They hardly ever stay in the traditional songform or even just to stay in one perspective of the chosen genre. Although Sparky’s Bargain Warehouse is their debut full-length album, the balance of maturity, comprehension, and innocence throughout is managed in a very impressive manner. The lead singer’s vocal and his lyrics are expressed in such an unfiltered, brutal manner that it feels like a naked kiss, almost primal in a way. The instruments on the other hand, is well-defined and carefully explored throughout vibrant sonic visualizations and palettes.
Sparky’s Bargain Warehouse opens with “5 o’clock,” a combination of upbeat ska and an experimental shift of landscape. Feeling the energy being pushed and pulled through the album itself in changing pace and restless movement is something really fascinating. Like the rest of the album, “5 o’clock” has you stimulated from top to end while still craving for its uncanny tickles.
Funk is more of an attitude and an impression that runs throughout the album. The splashing energy, flashy style, and daring fashion can be observed on more melody-centered tracks like “In My Mind” and “Take My Heart,” as well as the uncanny rap-rock “Sewer People.” Though Saucy Posse has its heart on the strange, the familiarity and catchy melodies in their music are never lacking. “Milton Mower” is a unwinding moody melodic mess that gets you so in the groove and feel.
The Hamiltons “Comin' Up (Live)”
The Hamiltons are not your everyday ordinary punk band. Since the very first note, or maybe just the presence of them is enough to bring a disturbance in the force, and their live performance, is simply, wow. “Comin’ Up” blows up in your ears like a bomb. It’s unapologetic, hysterical, punchy, and bloody. Everything that you want to experience from a punk band is right there, but there’s something more to the track “Comin’ Up,” with a primal, almost disobedient licks and vocal catharsis, the track sets at the intersection of blues and post punk.
Fierce and straight from the bones. The lead singer gives it all on stage. He channels a primal scream, a call that is both hauntingly captivating and hypnotic. His gritty, rough-edged voice feels like holding a beating heart up to your nose so you could watch it beating and breathing. There’s a vulnerability in their music, but it’s a strength in here, a relatability.
From every ground-shaking hit on all instruments to the ghostly hollow improvs on the guitar, The Hamiltons know you better than yourself and they prove it in their music. The Hamiltons have the natural gift to fill up whatever the space/platform/venue with their fiercely full sound, splashing chemistry and eclectic performance.
It’s the kind of music that just occupies your entire being and absorbs you until there’s no you standing there alone, and instead, you have become a part of the community that is built upon their music and sound. It’s almost cult-like and addictive, but in a very good way. They are a devoted band, no doubt. Just hear the records.
glu “HOT GLU GUN”
Disruptive, explosive, flaming, and stirring. The latest EP from Melbourne rap artist glu gives hip hop a smash of absurdism on the head. You hardly hear someone who gives it all, breaking a genre into countless pieces of glasses with blood and scream that feels both horrifying and unapologetically confrontational.
Rather than an EP of seven songs, Hot Glu Gun flows like a ten-minute live performance. Disobedient industrial, avant- grade sonic experimentation snorted some coke that hits right through the brain, bringing something destructive and horror in nature, but at the same time, brutally honest and nakedly vulnerable. From failed attempt of suicide to toxic relationship to drug use, glu doesn’t shy away from the heavy topics that often bring dead silence to the room.
It’s glitchy, edgy, and manic, but the storytelling has a serious tone in them that sits you down and makes you listen to every word he says and every sound he makes. Some of those voices are abstract and extreme, some of the soundscapes are descriptive and palpable, but it flows through you, stirring something in your heart and soul, something you don’t want to admit, something you don’t like, but it stares at you straightly — that’s the level of relatability in glu’s music. He stares into your souls and stirs your core.
It’s safe to say glu doesn’t release a piece of his art without breaking something in the process, then you watch it reconstruct in a brand new way you have not yet experienced. As an artist, glu is rebellious and evocative, but it seems to be exactly what is lacking in the highly repetitive, burnt-out industry.
The Daylight “Hidden Love”
“Hidden Love” is an instantly beautiful track. The vulnerability and genuine tenderness and scares that comes with parenthood are so intricately expressed in this track. “Hidden Love” feels like a derivative from The Daylight’s usual sonic palette, though it’s more of a surprise that really sheds a new light on what the creative duo is capable off.
Interestingly, The Daylight’s song book is one filled with genre-bending imagination, exploring a modern pop-rock sensibility. The duo opens your eyes to the tangible and intangible expression of sounds and melodies, painting the canvas with courage and heart. “Hidden Love” is as intense as it is nuanced and gentle. The track talks about a love that takes up your entire existence, that makes you panic and worry in a way you never thought you’d be at the same time, makes your heart so full of joy and happiness that it’s going to explode.
The world seems to blur and becomes softer in “Hidden Love.” The guitar drafts a hypnotic, lullaby-like soundscapes that gradually become the background. It’s still raw and careful, but it’s passionate and full of energy. Those very bright and tough combination of color smashes into the guitar tone and create such an abstract and expressionistic feel that is confessional and naked.
The vocals adhere to a similar aesthetic in this track. The melodies and delivery can’t hide a sense of nervousness that comes from caring too much — which is insanely rare to be captured in songs, yet The Daylight did it with flying scores. They’re not trying to be anything they’re not, they are just really good at expressing the way they feel, and that gives them an unusual and diverse range of sonic palettes — priceless, to be exact.
Wotts “NO TAKE BACKS”
Anthemic, nostalgic, euphoric — Wotts preserves the best taste of summer in one song, where your sensation is being teased and satisfied to the maximum. In this latest track from the creative duo, there’s no taking back. Everything is spinning in its riches, most reverberant form, like a never-ending moment of glory and love. Mood-filled lens walks back down the familiar street, capturing the lost feelings with one take. “NO TAKE BACKS” is a song that makes you want to put on repeat and listen to it forever.
Like the taste of lollipop meets your favorite fruit in a summertime gaze, sultry but the breeze is at the perfect temperature. “NO TAKE BACKS” taps into that tip of the best feelings that you wish it would never go away and transforms it into a song of mesmerizing melodies and euphoric soundscapes. The nostalgic twist in a modern pop expression feels both intimate and distant.
The latest release from Wotts reminds you of Harry Styles — it brings something unexpected to you as if it reminds you of something that feels so deeply in your bone but not always talked about. When you listen to “NO TAKE BACKS,” your sensations are being evoked and wakened on so many different levels that it feels both emotional and spiritual.
But of course, everything that good should never be exploited. In the debate of quality vs. quantity, Wotts leans towards quality. The track is under three minutes, but it gives you the perfect reason to put on repeat. The track doesn’t even need prolonged fade-in, the minute the music starts, it draws you right into the mood in a snap of fingers.
1st Base Runner “Planter”
Light roar feels like a perfect description of the feeling you get listening to 1st Base Runner “Planter” from his latest 5-track EP Light Roar. The track is immersive and expansive yet it remains in a minimalistic, almost lonely, industrial aesthetic. “Planter” sees the light piano circling through a gentle, feathery melodic motif like the needles on a recorder. 1st Base Runner’s Tim Husmann layers with his melancholy vocals that speaks of an impressionistic and abstract expression. It’s blurred enough not to be specific, but it’s naked enough to feel the bones and blood.
1st Base Runner adds an explosive, upbeat percussion into the front of the song, while distancing himself and the instrumentals to exist and expands. It’s poignant and poetic form of art that feels like it’s intentionally unintentional, but the space that it creates and the way it evokes you to think is what matters.
“Planter” adheres to 1st Base Runner’s cautious and effective songwriting style with every sound tuned to perfect, doesn’t waste a drop of energy or melody. His music has a very textural storytelling to it that draws you in, intrigues and challenges you to explore, but there is no answer to the question, but the question itself. 1st Base Runner’s music feels open and inclusive enough. It sits on the edgy island of post-punk, drifting into the imaginative, mood-filled sensation of post-rock and exhales deeply in the dream pop phantom.
Circling back to light roar. 1st Base Runner did roar a little louder in “Planter.” The track closes with a protesting rolling banner-like sonic art. “Ethical Corporation: NOT FOR SALE” — it echoes and repeats, louder and louder, but in a way, it still remains in black-and-white.
Clay Joule “NOTHING”
“Nothing” from Clay Joule is tuned to perfection. From the wickedly charming hook to the jazzy, rock-edged solo, to the eclectic, a bit disobedient riff and Joule’s smoky vocal that draws you into another dimension, “Nothing” is simply infectious. On top of all those juicy mix of sonic details, the music feels very present and alive.
Authenticity and passion goes hand in hand. That’s one of the most beautiful things about this track. The way it expresses itself so cathartically, fully immersed in the present moment and not give a f*ck about anyone’s opinion feels very punk rock. The atmosphere and soundscape are already hot enough, but this unapologetic attitude lights a fire underneath everything and throws it over the roof. It’s a party, and it goes way beyond that.
“Nothing” sees the fire sparks of the clashing of idea between musicians. There’s liberating spontaneity in it and the energy it brings out is uplifting. On the other hand, the track is very masterfully written and performed, tuned into perfection. A light touch of funk meets street rap and rock n roll in the most honest manner. Every sound is beating and ringing for themselves in a genuine and natural manner, and that is quite priceless in a song.
“Nothing” evokes such a collectiveness and a high in the ears and the souls. It makes you want to move your body and become a part of this immersive experience, being honest and just being in the moment without expectation, concerns, or worries.
tdotostudios “AFUA”
Tdotostudios brings forth a refreshing new sound of lo-fi Afrobeat into the UK’s music scene. “AFUA” is a female Ghanaian name with the meaning of “born on Friday.” In there, the gentle beauty bounced lightly between the beaming sonic palettes in the reawakening of translucent, melodic tales. The rhythm that is deep in the souls is the groove that pulses and flows through the vein in its natural, naked color. The heart and soul beats for beauty, belonging and enlightenment.
There’s no need for lyrics in “AFUA.” The track itself tells everything you need to know about AFUA. Like a Ghanaian impression that is being channeled through light electronics and mood-filled lo-fi, the soundscapes and melodies communicate a natural pursuit of purity and transparency from the artist.
Tdotostudios, also known as Theo Davis is a UK-based medical doctor turned Silver-Award winning music producer. Although the song is only his debut release, the talent is obvious. The genre of Afrobeat has been long revolved around abstract, expressionistic sonic palettes and more dominating beats, but instead of putting the groove at the forefront, tdotostudios provides a different perspective on how we perceive the deeply moving grooves and rhythms.
It’s a pulse that is not direct or aggressive, but more like an underlying or natural pulse that is so deeply embedded into the music itself. Even without the beats, the rhythms are within the melodies and every instrumental layers. That’s something quite different about the way that “AFUA” makes you feel. Additionally, tdotostudios’ freshly take on lo-fi and soft electronics with Afrobeat creates a sensitive and atmospheric palette that is quite unique for the artist.
Higgs Field “Leader in the eye”
Higgs Field has a defined, signature sound that continues to evolve throughout their music journey. Following the success of their debut album Paracusia, “Leader in the Eye” gives listeners a taste of thunder and lighting with an even more expansive sonic palette to kick off the mood. Hard hitting, smoky, aggressive, grungy and atmospheric, they are all of those things. “Leader in the Eye” sees the wicked charm of a complex mixture between modernity and ‘90s grungy alternative rock scene with the addition of a filmic vision.
The track centers around an anthemic guitar riff that acts like the opening statement as well as the reoccurring theme. The intro widens the horizon and claims to the world of its arrival. With each time the melody returns, it enforces that statement of who they are and what they are here for. Determined, captivating, and mesmerizing. “Leader in the Eye” has no time to obey genre rules. Its existence is enough to define itself.
The songwriting of this track is visionary and imaginative. It balances between a psychedelic, mind-blowing textural improv and an anthemic, epic storytelling. The two elements push each other as the intoxicating mood rise up even higher. “Leader in the Eye” feels like getting high through your ears. It continues to expand and test your resilience, while it explodes into cathartic chaos and immersive visualizations.
What Higgs Field produce or create is the collective effort of four extraordinary musicians. Their unique involvement and the collective chemistry between them brings out the wildest side of every one of them. Higgs Field is like a festival, a celebration, a form of liberation that keeps on getting better, pushing the boundaries, seeing how far it can go. It’s truly amazing to hear the different ideas, sounds and musical influences being confronted, twisted, and inspired in that sense.
Brave New Broken Hearts Club “Higher”
There’s clearly more wisdom in Brave New Broken Hearts Club’s music than what meets the eyes. From the twangs and twists of an introspective guitar backdrop soaked in the stories and complexity of life to his smooth, visionary vocal that unlocks the depth and truth of life through simple, relatable lyricism, Brave New Broken Hearts Club, aka Neil Phillimore is an artist who is worth your while.
His songs don’t stem far from reality, but they always go further and beyond. Phillimore’s natural English charm (in the case of “Higher,” it feels like a very distinct London charm) draws you into an urban setting with great history, while sonically, he envisions the song to fly across the ocean towards the unknown. The track captures the energy of taking off, like a bird, spread its wings, bravely examining new visions beyond what’s immediately in front of the eyes.
The track feels like a really good introduction to Brave New Broken Hearts Club’s music. It doesn’t lack the grounding and almost whiskey-soaked storytime charm, but the vision always aims higher than the story itself. His lyricism and songwriting leaves space for listeners to ponder upon and to create memories and experiences, while they are so easy to connect and dance to.
“Higher” feels like freedom, ambition, and vision. It’s a mixture of urban and countryside, ocean and land. It’s everything that the heart desires. Like a fine wine, the taste of it changes through courses, and it always intrigues you for more yet to discover.
Shady Oaks “3 AM”
Shady Oaks fascinate us with their latest double-single invention, 3 AM. Grungy, unconventional, edgy, full of explosive, raw power, 3 AM is a not a project you can hear everyday. Shady Oaks’ music is something that’s very hard to describe because they are simply doing their own thing and they are constantly changing, inviting more creative ideas to emerge and flourish.
Sometimes, it feels like it’s a combination of fun-having, improv and songwriting. There’s plenty creative freedom for everyone to lead and be themselves and to have a blast as a group. The energy is high and the spark is alive. At times, it feels like every instrument is screaming and singing at the same time. Shady Oaks as a group creates such a lit vibe.
“Mistakes” and “3 AM” mainly remains in the muddy, dirty, disobedient blues rock. “Mistakes” is very early Black Keys track with fuzzy guitars, wicked melodies and intoxicatingly rich groove. The track feels like it takes place in a small hill country bar, but there seems to be more edgy rock n roll, punk spirit in there than the blues.
“3 AM” features a massively explosive drums that taste like thunder and lightning with soaring guitars that feel like it’s literally screaming to escape the reality, but there’s always something really big band about this music. The track is extreme and expressive. It’s tangible and darkly satisfying. The shifts in soundscapes happen organically. Everything here feels well-deserved. From a bitchin, massive groove, the track derives into something atmospheric and textural before it hits back again with more hysterical. Shimmering psychedelic seems to have a strong presence here, but the music itself is simply intoxicating.
Faana “Stop Running”
Faana is a charismatic music maker with streams of good vibes and positivity that always have a magical way to cast out the dark clouds hovering over your head. Dynamic, restless and enthusiastic, Faana dissolves your worries and stress, lifting your heart up in captivating melodies and rich grooves, putting a smile back on your face. There’s only good vibe here.
“Stop Running” marks the debut release from Faana. The track draws you in with fruity, vibrant guitar riffs and lighthearted vocal leads. A smooth, passionate bass seems to be the perfect addition to complete the groove. “Stop Running” is an ever-evolving fast-paced track full of possibilities.
There’s sunshine, welcome, and warmth in the sonic palette. The track itself sends a message to those fleeing their home and finding a new home in a strange new country during the war. “Stop Running” is a warm welcome and an inviting message for those who are still scared and worried. The track reminds them that they are safe and welcomed, even though it may not feel like at first. “I’ll give you a reason to stay” attempts to lift their spirits up.
On a musical term, Faana’s debut single establishes a strong groove and a solid foundation packed with creative sparks. The nuanced guitar solo reminds you of John Frusciante’s work during the Californication period of Red Hot Chili Pepper. On the other hand, the single is appealing to a broad audience without being unnecessarily technical.
Emmalee Rainbow “Origin”
Origin is a project that hits hard on so many different levels. When jazz meets pop, usually something amazing and unusual would happen. Emmalee Rainbow’s music brings a type of melancholy and immersive vibe that reminds you of Lana Dal Ray. She has the westcoast sunset and ocean in her songs, setting the scene in the city of Angels. “Origin” pays homage to the city she grows up in, but her lyrics dive much deeper to those feelings that seem to be the theme of Los Angeles.
Like many, who came to Los Angeles with a dream and a goal, Emmalee Rainbow relocated to the city of Angels when she was three years old. Since then, she appeared on national commercials and television series. In many people’s definition, that already screams success, but there’s always more behind the scene. “Lived right in this city, for a decade, but sometimes still lose my way.” “Somebody’s son, lost int he lights of this town.” “Trying to stand out from the crowd, will he be found.” It speaks the story of so many souls in the city.
Emmalee Rainbow is such a powerful storyteller. Everything she writes seems to be effortless and right from her heart and head, but every line of her lyrics hit harder than another. Her story, in many ways, represents what we are going through, collectively. Everyone can find a piece of themselves in her story.
“Playing Dead” talks about her personal story as a child actor, who still feels lost in the Hollywood machine after more than a decade of being a part of it. As if she’s shredding an old skin and rediscovering herself. There’s goodbye as well as nostalgia in her music, but there’s searching and new beginning.
In “Trust Fall,” she writes about family from the perspective of a child, vocalizing the unresolved problems, fear and pain that every child has gone through with their parents. It’s a perspective that seems so rarely represented in today’s music scene. A reflection and learning happens at the same time as she expresses her feelings. It seems that whether you’re listening from a child’s perspective or a parent’s, there’s something that you could take home with at the end of the song.
JYLHÄ “Queen Bee”
JYLHÄ is an interesting artist who has something quite different to offer to listeners. In her untamed, authentic vocal, the beautiful folkloric instinct seems to shine bright. JYLHÄ’s melodies are a ray of refreshing sunshine with the first rain of spring. It cleanses your soul and awakens your ears — it seems to be the perfect description for “Queen Bee.”
It’s indie pop, but not quite the genre you’re familiar with. JYLHÄ has her own thing going on that invites you to explore her take on the genre. She has the most fascinating vibratos and ornamentations in her melodies that feel so special and intriguing. “Queen Bee” is a wonderful metaphor about reclaiming power and keeping your heart open. The queen bee has all the power. She deserves all the power, but at the same time, she’s afraid to share it with anyone, but then, she’d be alone.
Through the seemingly simple and interesting metaphor, the 15-year-old budding artist tells a tale that everyone can relate to and some of us are experiencing — the fear of opening up your heart, sharing that power with another person. It seems to be a never ending theme in adulthood, yet the older you get, the more difficult you could truly see through the mist. JYLHÄ has all the truth and wisdom in that matter. “Queen Bee” is about female power but it’s also about sharing.
The soundscapes feel just as refreshing as her voice. It’s like a breath of air to a suffocated person. Her music brings the blood back into your body and casts all the smoke and clouds cluttering your mind. “Queen Bee” is upbeat, chill, and pure. It’s sparkling of its naked, natural color, a power that comes from owning to who you are.
Kyle & The Super Best Friends “ksbf”
Located at the mid-album of Kyle & The Super Best Friends debut release The Death of Kyle & The Super Best Friends, “ksbf” marks a change of perspective. The album follows Kyle and other survivors journey in a post-apocalyptic future in search of how the world fell apart. Although what they seek didn’t set them free, something else did. The album explores the theme of friendship, loyalty, and basic human emotions.
It’s not hard to notice that “ksbf” is the first letters from the band’s name. Storming from emotional soundscapes, the longing and seek for friends, and anguish dystopia, “ksbf” finally sees hope and color returns to the post-apocalyptic world. “ksbf” presents a transition of energy, sonic palette in one song. The track opens with a guitar-washed surreal soundscapes, as if standing at the edge of the world. Immersive, hypnotic. The mood-filled soundscape doesn’t require many words to articulate the storytelling.
Into the last minute of the track, the shifting soundscape concentrates into something more tangible. A path emerges from chaos, the rhythmic guitar seems to find a footing in the new world as the lyrics call out to “the super best friends.” There, something really powerful and exciting happened.
Following “ksbf,” “Find A Way” feels more determined. Unlike the sparse and introspective soundscapes that themselves in a distance, every thought and emotions in the second half of the album are clearer and closer, and this shift all happened in a single track. “ksbf” is undoubtedly an important pivotal point in the album. It’s simply fascinating how the shift that happened in the track affects the rest of the album.
Dull of Down “Lullaby Time/Raymond”
It only takes two seconds to fall in love with Dull of Down because they are a band full of personality. It’s simply hard to not love every sound they create. Both “Lullaby Time” and “Raymond” in the double single release open with distinctive yet territory-marking guitar/vocal arrangement. The twists they embrace as the song embrace feel like an expanding journey of soundscapes and emotions. But what really draws listeners back again to their music is the captivating melodies that seem to echo with the solo.
“Raymond” opens with a determined bassline. As the rhythmic bluesy twang joined by the soaring guitar that throws the hoarse scream up to the room, the lead vocal line come in and swoop you off of your feet with its mesmerizing lyrics that centers around “Raymond.” The rich, smoky vibe of rock n roll intertwined with country and blues influences simply makes listeners lose track of time and space.
“Lullaby Time” is on the edgy side with more garage and grunge influences. The single opens strong with a whiskey-drenched vocal. The electrifying guitar that subtly flies between hard rock and metal rhythms keep on evolving towards becoming more textural. After the solo, the single embraces a momentary softness and silence as the guitar shifts to a sensitive fingerpicking. Then the driven rhythm storms in again. “Lullaby Time” is like a kaleidoscopic vision that constantly brings in new soundscapes.
Dull of Down is no doubt a charismatic band full of energy. Both “Lullaby Time” and “Raymond” revolve around the underlying meaning of the title, which is being expanded and repeated throughout the song. It effectively creates a strong impression among listeners and also seem to leave just enough space for their curiosity and imagination.
Wotts “6 Shooter”
Wotts are known for their creativity and unpredictability that surpasses listeners’ anticipation, but “6 Shooter” is undoubtedly next level. After hearing The Desert Island Big Band’s initial version of “Six Shooter,” Wotts’ re-imagination feels like a variant from another universe stumbled upon our own. It’s quite shocking to see how far the duo could direct from the material. They have drive it into something so completely different while adhering to the core aesthetic of what makes a “Six Shooter” six shooter.
In Wotts’ sonic world, sultry psychedelic visions become the remote island of retreat to escape an overly politicalized world, a similar world in which The Desert Island Big Band seek as a La La Land in his music. In “Six Shooter,” DIBB goes back in time and taps into the vintage 1970 aesthetic, which Wotts then approached it from a whole new perspective.
“Six-Six shooter gun, locked up in a glove box from 1971” is filled with the traces of early 70s rock n roll. Wicked guitar licks remind you of the highs and lows. It brings the best from a previous era into modern day production. It’s surreal because the collapse of past and present simply doesn’t exist in the reality, but that’s what The Desert Island Big Band seems to create in the original version of “Six Shooter.” Wotts brought something back from he 70s as well, it was a time of Wah-wah pedals when bands and musicians like The Beatles, Jimi Hendrix were exploring on a psychedelic quest. It reminds you of the blooming music scene during that time. It saw its best players, whose influences still flow and breathe among today’s music creations.
It’s simply brilliant how Wotts approaches the song. They claim the complete creative freedom in “6 Shooter” and allow their imagination and voices to speak for themselves, taking shape in unexpected ways. It’s not “Six Shooter” but in a way, it still is.
Even the spinning retro sensation stirs a modern indie pop dream that seem to be an ever-evolving theme. In there, the melodies have gone through a psychedelic tunnel and came out in another dimension with brand new outlooks.
Arn-Identified Flying Objects and Alien Friends “Suck”
“Suck” was originally written for Redmoon. However, it becomes the beginning of Arn-Identified Flying Objects and Alien Friends’ solo project. Like most of Arn’s songs, the track finds its longing in a classic, retro style. It was initially envisioned as a retro disco pastiche, but classic rock and power pop found their footings in the track and became the electricity that fueled the entire design.
The two perspectives of “Suck” coexist harmoniously with nuance that sheds a new light during each listen. The track seems to have found a calling in the collective sound of the 60s and the 70s. Luscious soundscape and large, buzzing electric guitars are completed by the tireless, energy-splattering beats. Massive vocals and timeless melodies remind you of bands like The Beatles and The Beach Boy, and yes, “Suck” does gives out a surf rock vibe sometimes, but it’s only a hint.
From a completely different perspective, the song carries a strong modern sensation measured through an 80s disco delight. The multi-faceted track can’t really be pinned down to one genre or experience. It always intrigued you to come back and listen to it again, to examine the details that you have previously overlooked. “Suck” seems to respond accordingly to your mood.
It’s clear that Arn-Identified Flying Subject and Alien Friends has vast influences under his belt, which resulted in those fascinating discoveries that naturally emerged during his creative process. “Suck” is about selling out for material success and sometimes just to fit in and survive. The song touches base with the loneliness and fear of rejection that comes from the experience and appeals to a highly relatable situation that every adult could relate to.
It’s interesting to point out that “Suck” does have a relatively glamouring outlook with a classic 60s vibe. Unlike today’s expression, which sees everyone pouring out their hearts in an intimate and vulnerable settings, the last century’s classic rock n roll embraces a poised, whiskey-drenched impression that reflect on the past without dwelling on it. That’s the gist of “Suck.”
“Suck” belongs to Arn’s 17 Birds at Summer’s Gate. When you listen to the rest of the album, the trace of Nordic folk that remains subtly hidden in there also seems to surface. Despite the melancholy undertone, “Suck” appears in a familiar ray of sunshine that is rare to hear among more contemporary music. In a way, “Suck” is youthful and thriving, but in another way, it’s nostalgic and longing.
Clay Joule “Into the Sky”
Clay Joule explores an experimental, fluid-like structure with “Into the Sky”, addressing the rising of mental heal related issues through a unique, transcending take of textural vocals. “Into the Sky” is appealing and celestial, yet the dissonance seems to connect listeners in a deeper sense through the clouds and rains that weigh on our shoulders that everyone could relate to.
“Into the Sky” feels spiritual at first, but Clay Joule amazes listeners just how deeply it’s connected to the foundational human conditions. The Spanish guitar, rooted in a rich folkloric cultural background, transforms emotions and thoughts into beautiful, semi-improvised texture. The clarinet then shines in with warmth. Jenny and Clay’s vocal presents a certain obscurity, intertwined together as one, breaking down barriers and worries.
Jenny’s vocal is soft and intimate, Clay then makes an emotional and distant addition, yet they present a unified, ever-changing texture that immerses listeners in its haunting beauty. The bell chimes as occasions, and the percussion bounces as called. There’s always a touch of melancholy in the sound, but overall, it radiates calmness and love.
In fact, “Into the Sky” is a quite a change from Clay Joule’s usual music writing. Most of his songs lean heavily towards the rock genre, with a touch of retro. As a songwriter, there’s no doubt that Joule has a keen heart for spontaneity and a sharp judgement for musicians and instrumentations. “Into the Sky” is a perfect example of how everyone involved collectively create such a inspired piece that embraces certainty and uncertainty.