SKREEN B BLOG

As you regular readers of my blog will know, I am a fan of a lot of darker material - and Livia Drew has grabbed my ear with her latest release. “Vampyre” has the eerie charm of a disturbing nursery-room nightmare, only here the shadows conceal something considerably more adult. A hypnotic toy-piano motif, delicate strings and evocative vocals create a gothic music-box atmosphere, with Livia Drew delivering the lyrics theatrically but wisely resisting any temptation to go over the top. That helps this piece to be a sort of restrained horror with an almost sensual allure; it is also cool to hear a waltz turned into something a little creepy.  There’s an elegant simplicity to the arrangement - no guitars, no sonic bludgeoning - yet it proves remarkably effective. As the refrain promises, “A promise as dark as night, we’ll never die”: this is romance with its teeth showing, seductive, spooky and just dangerous enough to leave a mark.  LINK:  Livia Drew

When a submission comes through to me which states "for fans of Ryuichi Sakamoto" then my ears prick-up. As a lad, in the days before online shopping, I would often catch the train to London to hit the record stores in the hope of discovering another LP by Sakamoto or Yellow Magic Orchestra. They were fairly rare beasts in those days and often I would end up spending far too much on overly-priced Import copies. It was always worth it, though; being in the UK meant that Sakamoto's music felt like a secret only I knew about. Belle Chen's 'Rise' came in with that very "for fans of..." accolade and I have listened to the piece quite intently over the last few hours. As you would expect, 'Rise' is a neo-classical instrumental piece based around a gentle piano melody with a sweeping synth and orchestral backdrop.  Belle describes the piece as a tender musical portrait of first light: "The gentle space between dreaming and waking. The quiet fee...

A couple of days ago I waxed lyrical about Steve Albini's mix of 'Simulacra' by Charm School, something I described as "gloriously agitated". Well, included on the same EP of remixes comes Cryb's take on the track - and I have to say that it is completely different beast. I usually get a bit sniffy about remixes, it can be that a lean fighting machine gets transitioned into something a bit flabby. However, I am pleased to report that Cryb's remix is a great listen - turning the original guitar track into something with a pounding heart and a flickering electronic pulse. Like something clockwork has been wired-up to the mains. Give it a listen. LINK: Charm School

Next I have the new platter from The Horn. Let's first address the elephant in the room, the band name. I'm just not sure that it is a wise choice? There's too much of a snigger opportunity to be had – however – I have been involved in some of the worst band names ever, so I cannot really preach. Anyway, ignore the connotations, I'm sure there's a good reason. On with the review... “Beautiful Lie” finds the London five-piece in a softer, more cinematic mood, with a softly performed vocal floating through tinkling keyboards, subtle embellishments and sweeping orchestral layers. Tremulous ’60s-style guitars add a dreamy, nostalgic glow, while the lavish Danton Supple production gives everything plenty of room to breathe. It’s a fairly linear affair, notably resisting the temptation of a grandiose chorus, but that restraint suits its hazy, golden-hour mood rather nicely. The single is taken from The Horn’s forthcoming album ‘Catalyst’, due for release in October. LINK:...

Scottish singer-songwriter Lewis Stevenson’s 'Dare To Hope' begins in quiet, reflective territory, its tender vocal delivery suggesting grief and the complicated business of taking stock of life. The arrangement is thoughtful and delicate, allowing a lovely, dreamy guitar motif to hover around the song like a half-remembered memory. But this is no exercise in staying downhearted: Stevenson gradually turns the emotional dial, building towards a more vibrant finale where the guitar really soars. It’s an affecting journey from intimate contemplation towards a wider expression, with Stevenson’s poetic indie-folk sensibility giving the song plenty of heart without laying it on too thick.  LINK:  Lewis Stevenson

The Pink Diamond Revue return centre-stage with “She Is”, a sleek electro stomper that marries disco propulsion with psychedelic fizz. Built around hypnotic repetition, electronic textures and sampled voices - including John Lydon’s infamous “ever get the feeling you’ve been cheated?” line - it has the knowing swagger of S-Express with a touch of Ofra Haza’s exotic allure. Fronted by aCiD DoL, this Reading/London trio have spent nine years turning up the volume across more than 500 UK and European shows. “She Is” is a fitting party-ready opener on their forthcoming album, At The Discotheque. Check out the video below and head over to the band's fairly  extensive website. LINK:  The Pink Diamond Revue

Devereux Scales have just released the final recording of three songs created in collaboration with producer, Jordan Lawlor. Moody and beautifully restrained, 'The Shape of Things' drifts on silvery guitars, thoughtful vocals and bubbling bass, creating a hazy, shadow-lit atmosphere that feels both nostalgic and fresh. The piece incorporates the spirit of 4AD and Creation Records without sounding derivative, balancing shimmering textures with a quietly driving rhythm. Not abrasive but gentle, the track gradually flows, revealing subtle layers and an emotional depth that makes its understated radiance increasingly compelling.  LINK:  Devereux Scales The Shape of Things by Devereux Scales

Happily, here's another chance for me to champion something away from the traditional song format. Amy Speace’s ‘Days of Letting Go’ takes the scenic route, somewhere between folk song and spoken-word travelogue. Keyboards, guitar and gentle percussion provide a suitably understated soundtrack as Speace moves between singing and conversational recitation, turning poetic, intimate observations into something that feels like leafing through a well-worn journal. Inspired by her poem 'Bluegrass Highway', the song traces a journey through seasons, memory and personal loss without ever becoming heavy-handed. The accompanying video mirrors that reflective mood, shifting between wintry black-and-white and muted colour, as though memory itself can’t quite decide which palette to wear. There’s a quiet cinematic quality here, and Speace proves an engaging guide: reflective, road-weary and wonderfully human. 'Days of Letting Go' comes across as a very touching piece, without be...

Post-goth band, Vitamin Dead, are based just along the coast from me in Brighton. Their latest release offers up 'Paracetamol' which is very welcome. To be quite frank, some days, after listening to an endless stream of white noise and bad, dad rock, I could do with a little head remedy. The song is definitely a guitar rollick; with thundering drums and non-angelic backing vocals completing the intensity of sound. They say the track is "a jolly little ditty about bad advice" - and Vitamin Dead certainly prescribe the rather alarming cure of “4 packets of paracetamol” with much perseverance. So much so, that the main vocal refrain feels a little like a tablet sticking in your throat - in that manner, the piece is a tad short on lyrical variation. However, you have to give the band their due, you cannot deny that they relentless in their approach - and 'Paracetamol' does leave you feeling much better.  LINK:  Vitamin Dead Paracetamol by Vitamin Dead

There’s something gloriously agitated about Charm School’s 'Simulacra (Steve Albini Mix)'. The LA-based post-punk outfit throw together choppy, serrated guitars; hard, rubbery bass and percussion that clatters and clanks like an industrial machine with attitude. Over it all, the vocals strike-out somewhere between a slightly crazed Lou Reed and a man biting back with mocking ire. 'Simulacra' is the first song Charm School ever released and this version was mixed by the late, great Steve Albini before his passing. As such, it that bears his unmistakable studio touch; expertly capturing the raw energy but with refined nuances. Released now alongside further mixes, it makes for a suitably abrasive calling card and is a fitting tribute to Steve Albini. LINK:  Charm School

What can I say about 'Ahhhhhhhhhh' by John Dough? Hmmmm... it really made me smile, maybe even laugh a little. The recording is a cheeky little electro instrumental featuring NASA samples and a reasonably posh female voice helping with a disjointed and chaotic countdown to lift-off. To what, I do not know?! There are ticking clocks, breakbeat, cheesy electric piano, sort of morse code synths and a completely carefree approach to everything. Wonderfully exhilarating for being its own beast - glitch with a sense of humour. No other information is available, but it appears to be by a 9 year old experimental electronic musician based in San Francisco. Top work - the right side of bonkers. LINK:  john dough Ahhhhhhhhhh by John Dough

Oh yes, this is right up my street - or should that be road? Brutalust provide a clear warning with their new tune 'Drive' - a song which is "a metaphor for losing yourself and a society moving at a different pace than your own life". Living up to their name, the band put all their passion into stark, hard-wired synths and rigid drum machines - with minimal lyrics about "driving too fast" sung with cold menace. In many ways, it is like a collision of the sentiment touched on by Gary Numan's Cars, with the severe styling of Fad Gadget.  That's not to say this sounds dated, Brutalust have made this very worthy of a modern audience. I always enjoy the combination of male/female vocals on a darkwave recording and dystopia has never sounded so beautifully bleak as this. The track features on the band's debut album 'First Come' - go check it out! LINK:  Brutalust

Jolliest tune of the week (so far) goes to Traderfirstyear with 'Doing Alright (Remastered)' which I presume is a newly worked version of a previous track. Either way, the song is a sort of mild, electro-reggae bounce with a totally daytime, pop radio feel. The summer vibes pretty much ooze from the recording which seems to be about contemplating life and the answer is "I'm doing alright". The synths are bright and the arrangement hardly veers from the main vocal hook, but that's alright. One for the poolside bar.  

Portland’s PriorGhost turn up the heat without exactly setting the dancefloor ablaze on “WE’RE ON FIRE”. Released via Static Room Production, this sub-three-minute electro number is more Walkman wanderer than clubland stomper, with a clean melodic flow that occasionally recalls the pop-tastic tones of Eiffel 65. The reserved vocal delivery, warped voices and little glitches add just enough digital seasoning to keep things interesting. There’s a pleasingly understated confidence here: “WE’RE ON FIRE” may not be shouting it from the rooftops, but it certainly has a spark - and sometimes a little less fire makes for a hotter listen. Bonus point for the cool cover artwork, too. LINK:  priorghost

Here's one that could be a contender as the wedding dance song of choice for newly weds. There’s a reassuring warmth to Michael B Kowal’s “Take My Hand”, a tender indie ballad carried by guitar and gravelly Americana vocals. The song becomes a beautifully open invitation - to love, friendship, faith, or simply not facing life alone. Kowal, a Louisiana singer-songwriter who builds his music from acoustic guitar and lingering thoughts, keeps things wonderfully human and unhurried. I’m no great harmonica fan, and there’s plenty here, but I’ll gloss over that - because the gentle build and heartfelt sentiment make this a romantic gem. One for late nights.

Alpyne's  'love hate' is an interesting beast, there is a lot going on within the confines of a sub-four minute pop song. For that reason, I really enjoyed the arrangement, the core of the song is the usual vocal and guitar combination, but Alpyne add some wonderful augmentations. Those little keyboard moments, vocal harmonies and motifs just add some magic dust, taking the recording beyond the standard approach. The piece is superbly crafted and all that attention to detail packs the song with a hatful of hooks. Hard to define, but definitely more love than hate.

Ignore the slightly indistinct artwork, “No Return” finds The Republic Of Wolves firmly pushing the boat out, and I’m happily along for the ride. The Long Island indie-rock quartet wrap fuzzy, rocking and jangling guitars around a satisfyingly fluid lyrical flow, while pseudo-screamo backing vocals add just the right amount of vocal mayhem. There’s plenty of restraint before the noise bites back, proving the band know when to subdue their wild urges and when to let them roam. At times they almost sound like REM in a frenzy. With their reputation for dark sounds and aggressively knowing lyrics, I’m finding this Republic has declared independence from dullness. No return ticket required, after all - it is a single (boom! boom!). LINK:  The Republic Of Wolves

I’ve heard plenty of wrecking balls in my time, but Guteren’s is definitely swinging at the walls of sound on this one. Alex Goodman’s solo project takes Miley Cyrus’s pop tearjerker and gives it a post-hardcore battering, turning the desperation up to eleven. With emo vulnerability, explosive heaviness and dramatic muscle; just as Guteren wanted, this lands like a 3am doorstep meltdown. As trashed-up cover versions go, he really blows the roof off and brings the house down. However, one thing that really disturbs me about the release is the angle of the runner mat on the artwork. I just feel the need to straighten it. LINK:  Guteren

I live by the sea, we do have Martello towers, but not really any castles. Oh, apart from sand castles, when the tide allows. That makes Dale John Max’s new release ‘Castles in the Sand’ a rather fitting title for a seaside listener.  This is indie rock performed with gusto: nice pounding drums, a driving rhythm and a big, radio-friendly chorus. The lyrics capture lingering feelings beautifully, lines like “we still whisper in overtones” providing a poetic lustre. The latter half of the song includes a thoroughly enjoyable rock-out, with soaring guitars adding extra lift.  Based in Southern California, Max blends indie folk with alternative rock, exploring love, loss and uncertainty. Check him out. LINK:  Dale John Max

There seems to be something in the air at the moment. I know it is all down to personal taste, but some of the artwork accompanying the new releases could do with a little work. Everyone seems to be testing my "always judge a record by its cover" standpoint. OK, gloss over that, after all it is all about the music, isn't it? Anmol Melodies offers up a new release 'It Girl' - an upbeat commercial tune with quite a mild electro pop production. The vocals are at the forefront of the recording, as they really should be for this genre, with Anmol (meaning priceless and/or precious in Hindi) showcasing her vocal gymnastics very effectively. The piece is clean and perky with a subtle East meets West melodic quality, with all the lyrics are sung in English. I would suggest this track is aimed more at the teen or youth market (that counts me out, then!) - the sort of song that could really go down well at parties and sleepovers. Slightly disappointed that the song was not ...

Firstly, I have to say that the cover artwork for Cooper Kenward's 'Bit Better' is a little off-putting. I suppose it is down to personal taste, but even the dog looks dubious. So, going against my usual "always judge a record by its cover" ethos, I have to say that I found the recording quite enjoyable. The song is very straightforward: just a chap singing along with some guitar and drums, no great over-kill on the production. The vocal is restrained, but thoughtful - and the guitars are well performed, plenty of tonal changes and an interesting interplay of styles. I would imagine this is for more mature rock fans, good work and honestly created. Oh, a little sweary in places. LINK:  Cooper Kenward

Back to the noise for this review. South Wales five-piece Strange Company blend high-energy emo-punk with emotionally charged modern rock, drawing on influences such as Boston Manor and Bring Me The Horizon. ‘Do You Feel Numb?’ starts hard and frenetic, before pulling back where the first verse becomes more reflective, built around soft piano and emotive vocals. The song then explodes again into heavy noise and almost-screamo vocals, setting the pattern for this punchy, bleakly honest track. Matt Davies shows impressive vocal range, while the huge recurring riff gives everything real weight. There’s also a lovely guitar and piano breakdown, which was my favourite part. Overall, ‘Do You Feel Numb?’ is an intense, cathartic slice of modern emo-rock. LINK:  Strange Company

As a complete contrast to the bulk of my reviews, this time I have chosen something rather upbeat and commercial. Without a shadow of doubt, Ayda Rastgoo’s “Drüber weg” fits the bill as the white to my usual black. This is a groovy dance number, sung in her native German, with a bright and jolly pop feel, conveys a confident vocal performance. The joyful vibe is rounded off with some playful piano, funky bass and disco strings.  At just 20, Ayda already has an impressive musical CV: a classically trained pianist since five, she won first prize at Jugend Musiziert in 2019 and reached the finals of The Voice of Persia. Her music has also carried a powerful message, with her protest song “Nemikham” becoming a viral success. “Drüber weg” shows another side of this talented young artist - fun, polished and full of positive energy. LINK:  Ayda Rastgoo

I like Cherub Dream Records, they often deliver material and bands that are way off even the leftfield. For that reason, we really should be cherishing them and their releases. This time we have a new recording from Blous3. The Sacramento four-piece - Jacob Waite, Julian Hall, Riley Waite and Cole Apperson - deal in art punk, noise rock and “dustdont settle” certainly lives up to that reputation. Chugging bass, thrashing guitars and female/male vocal interplay keep the track controlled one moment before exploding the next. There are elements of shoegaze or grunge gone feral here: art-rock with bite, passion and considered hooks. “dustdont settle” comes from the forthcoming album 'the pledge, the turn', due out September 22. The best band from Sacramento? Quite possibly. LINK:  blous3 the pledge, the turn by BLOUS3

This recording is about as stripped-back as it gets, pretty much just a voice and a strumming guitar, with no big percussion, booming bass, tinkling keyboards or dramatic orchestra. Yet that simplicity gives “Body v/s Mind” a certain charisma. Imagine a religious preacher plucking a guitar and shouting out his inner thoughts like a sermon, and you’re pretty much there. Chicago Boys are a Canadian/Chilean experimental punk project, described as “Wire played by The Shaggs, all while yelling about conceptual art.” The deliberately lo-fi approach suits this strange meditation on body, soul and mind perfectly, turning existential uncertainty into something oddly compelling and memorable. The artwork is equally bonkers. LINK:  Chicago Boys Body v/s Mind by Chicago Boys