SKREEN B BLOG

Here comes another remix which has really impressed me, this time courtesy of Danish's Glitch Garden taking on 'Let It All Go' by  The Sei . I am not aware of the original track, but here the remix arrives as wonderfully atmospheric piece, seemingly built around the original vocals. The recording was partly inspired by Massive Attack - showing a similar attention to detail with that glacial eloquence and rich tonal quality. The Sei are an electronica project formed by Stace Gill and Maria Nilsson Waller. The Irish / Swedish duo tackle love, loss, life, death, natural intelligence and AI, turning these universal themes into songs of reflection and questioning. If you fancy something a little chilled, please do give this a go. Garden Leave by Glitch Garden

There's a lot of debate going on at the moment about AI and its threat to humanity. Inevitably, much like the songs being written during the covid era, what's topical starts to filter down within new recordings - that's the case with  DemoDiva 's new release 'Monster'. Based in the US, independent songwriter, producer and publisher DemoDiva brings an old-school electro-pop feel to the subject matter, wrapping a serious warning in surprisingly soft and calm female vocals. The lyrics paint AI as both servant and master, with lines about feeding the “Monster” our thoughts before admitting, “I can’t control Monster / And what I’ve made of him.” There’s a nicely understated menace beneath the catchy synth-driven surface, making the dystopian message all the more effective. Thought-provoking without sacrificing its pop appeal, this is a warning which does not resort to scaremongering. 

Chapel Hill's Why The Hell Knot have just released a new ditty 'Book of Love' and this is more like it; some good, old punk from America which sounds like good, old punk - not some of that generic pop-punk that has been rotting away the airwaves since the 90s. ‘Book of Love’ is a brisk, high-energy blast that takes a witty swipe at the confusing rules of modern romance. With rampant guitars and plenty of sarcastic lyrical bite, it pokes fun at the typo-riddled, badly punctuated instruction manual we apparently rely on for matters of the heart. The song is a catchy, cathartic singalong for anyone whose love life has ever been derailed by dubious advice, mixed signals or one badly placed full stop - a jolly good track to make you want to jump around. 

Clocking in at just 92 seconds, Nice Boat ’s new tune may be called ‘Everybody’s Bored’, but that is certainly no reflection on the song itself. How could it be? The recording simply doesn’t allow enough time to get bored! Thankfully, the track is never dull, delivering instead a sprightly blast of fuzzy fun. Built around live beats, bass and fractious vocals, Nice Boat keep things lean and gritty, with sparse handclaps and talk-singing adding to the wonderfully scruffy feel of ‘Everybody’s Bored’. The band say "the song speaks to the moments on the receiving end of boredom in someone else’s eyes and a general frustration with the concept of 'boredom' in itself." The accompanying video perfectly captures the spirit of the song too, with bright colours and quirky characters somehow weighed down by life’s despondent inevitability. So, if you find yourself surrounded by grey skies, ‘Everybody’s Bored’ might just provide some brief respite from the boredom of being bored....

Many years ago Bad Manners did a song called 'Night Bus To Dalston', it was the b-side to their hit single 'Lip Up Fatty' - I still have the 7" vinyl. The 'Night Bus To Dalston' title always amused me, it was just so British and devoid of romance. Zoom forward 46 years (gulp!) and the perfect segue arrives from E.M. Kane with her new single 'One Night In Dalston'.  Glaswegian E.M. Kane spent ten years in London before returning home, and ‘One Night In Dalston’ turns that experience of big-city loneliness into something wonderfully raw and relatable. Built around a guitar-and-vocal core, the track has a satisfyingly rhythmic pulse, while Kane’s expressive delivery shifts from intimate confession to full-blooded release. She really sings her heart out here, with some wonderfully brave vocalisations that match – and at times seem almost to compete with – the grinding guitar solo. Inspired by a tear-filled night in an East London club, the lyrics captu...

I like it when musical genres go slightly rogue. From their base in the alternative internet culture of the US, experimental audiovisual artist personalheartbreaker serves up a suitably intriguing slice of cyber-gothic weirdness with 'Sorry Eyed'. Ethereal vocals float through heavy, reverb-soaked guitars, while electro bleeps and beats provide a distinctly retro-futuristic pulse. Inspired by the nu-gaze revival but considerably colder and more otherworldly, the track shifts between dreamlike intimacy and sonic heaviness.  The highly stylised presentation is very much part of the package, creating an unsettling visual world to match the song’s tale of desire, dependence and self-destruction. 'Sorry Eyed' is an interesting insight into the strange realm of personalheartbreaker.

There’s something rather compelling about a band who can make a song sound like it’s been beamed in from a particularly gloomy corner of Eastern Europe.  Dlina Volny ’s latest single 'Vochy' certainly manages that mood, wrapping a haunting combination of male and female vocals, brooding synths and a driving post-punk rhythm in a suitably shadowy darkwave atmosphere. It’s the sort of track that seems to lower the lighting in the room all by itself. What particularly grabbed me is the tension running through the whole thing. While the music remains controlled and beautifully composed, there’s a simmering frustration underneath, reflecting the song’s themes of lies, abuse of power and information overload. The fact that this is Dlina Volny’s first release in Belarusian adds another interesting dimension, too. There’s plenty of dark-pop polish here, but 'Vochy' never feels overly glossy. Instead, it manages that rather nice trick of sounding both intimate and imposing – moo...

Red tape put to tape, sums up this track. There’s something deliciously cruel about an insurance form becoming an interrogation, and Utrecht’s Empty Habits make the most of it on 'Life Insurance'. Restless guitars and post-hardcore tension propel a song about the pains of navigating officialdom and being forced to recall a messy adolescence for the sake of a tick box exercise. “Dropdowns hiding dropdowns” neatly captures the bureaucratic nightmare, while the lyrics’ cheery assurances about privacy make the whole affair wonderfully familiar. Recorded largely live, it retains a raw, impatient energy and finds the band on good form (see what I did there?). 'Life Insurance' is taken from Empty Habits' new EP, Self-Sabotage Life Insurance by Empty Habits

Sometimes the best songs come from carefully considered songwriting sessions; other times, apparently, you just need to pick up the phone and call Turkey - the country, not the things that go 'gobble, gobble'. Kathleen Blackwell ’s 'Hello Turkey?' is a gloriously daft one-minute masterpiece (that might be stretching it a bit?), born from a studio conversation about whether Turkey actually has any mountains – and, if so, what on earth they’re called. What started as a delirious joke was captured on mic and eventually turned into this wonderfully comical electro track, assembled simply to make Kathleen laugh. Thankfully, it worked – and now we get to share in the joke. A brief, bonkers detour from an artist who refuses to be confined by genre, proving that sometimes music doesn’t need to be profound; it just needs to make you smile. By accident, I found that 'Hello Turkey?' works best if you leave it on repeat - try it!

Now, this is my type of music, just the name of the band,  eggs and tiaras , gives you an indication that the audio is not going to be the usual run of the mill affair. Gladly, that's just the case as upon playing their latest track 'De mon Toi' (From my self) the dysfunctional creativity just flows.  The band say "As usual, Eggs and Tiaras invite you both to dance and to see things differently" which sums them up beautifully, there's oddness in their words and style, but that's all backed with tight, crisp beats and expressive electronics. Roughly translated, they say the song is about "the first cry, born inside us; the fed-up feeling. The one that shows how we feel about current politics. It's the morning cry, the one we want to let out while watching the news go by".  The Swiss act deliver their vocals in French, English and German with songs that tackle the darker side of everyday life with a mischievous mix of irony, provocation and irr...

Righty-ho! Gird your loins for a recording which might not be to everyone's taste - this one is a bit of a marmite track. 'Ghost Debt' by  Nero's Day At Disneyland is quite a sonic onslaught and even I am struggling to find the words to describe it. I suppose it is like glitch meets witch house? Much like a ride on an madly malfunctioning Ghost Train; you get all the percussive chaos of pots and pans cluttering and electronic twitching, combined with the spooky, banshee wailing. At times, I am not sure if you veer off into the Haunted House or down the rapids of the Tunnel of Love, but the result is two and a half minutes of mayhem and hilarity.  Los Angeles electronic producer Lauren Bousfield, aka Nero’s Day at Disneyland, has been making boundary-pushing experimental music since the project’s cult-favourite 2009 album 'From Rotting Fantasylands'. Alongside her solo work and collaborations, Bousfield has also worked as a composer, arranger and sound designer ...

Let's start with the cover. I would call the artwork "Red Wine Stain on Antique Paper" - but that's just me. The minimal image disguises the intensity of the sound within - however - I get the concept, this one comes from a band called The Grapes  - and the song's actual title is 'Repeat Mode'.  The Seoul brother-duo proudly proclaim themselves “your boyfriend’s least favourite band”, and 'Repeat Mode' makes a rather convincing case for the title. The first single from the band's second EP captures the maddening inability to let someone go as a relationship slowly fades. The song itself is wrapped in honest lyrics with a raw, punchy post-punk sound. “We got colder, we got colder” neatly nails the emotional chill. 'Repeat Mode' is a catchy indie number with a jaunty, but raw edge that warrants repeat plays. There's some good noise coming out of South Korea, that's for sure.

Against all odds, another remix has arrived which I really like. Stockholm trio ARMOURS have given their track ‘Body’ a rather impressive makeover, enlisting Danish heavyweight Leæther Strip for the job.  The original track, ‘Body’ deals with the experience witnessing a fading parent and the inevitable shift between generations - along with other emotions such as grief and sorrow. Not exactly your standard synthpop subject matter, but suitably dark and thoughtful. The reworking gives the song a substantial overhaul, pushing the EBM elements harder while bringing ARMOURS’ synthpop sensibilities further to the fore. The result is a rather satisfying meeting of two electronic worlds. A great collaboration.

I like this, I like this a lot! 'Blue In Your Hair' is the new release by Paris-based singer-songwriter, Poulpy - and, as a DIY production, it just rolls out with absolute honesty and vibrancy. Sung in English, but with a strong French accent, it is a little hard to completely understand the lyrics. I am pretty sure one line is "crushed like a fly on the wall" - but another was subtitled by YouTube as "I made love to your shoes"?? If that's correct, the mind boggles! I hope it is correct. Initially, I was hoping the song might be about Berserker-era Gary Numan, but alas not. Musically, the piece is straight up indie pop rock with Poulpy playing guitar, bass and providing the ever-so charismatic vocals. I don't know why, but the recording just comes across as really fresh and free from all the usual pretentious trappings of indie rock. The "home made with love" factor really does transcribe to the recording, making 'Blue In Your Hair...

Any release that comes through with a robot depicted on the artwork is always going to grab my attention - and that was the case with the 'Scratch - Club Mix' by  Pennan Brae . My only reservation was that it was obviously going to be a dance mix of a tune which I didn't know - and I prefer to hear the original version - remixes and whatever generally tend to simply pad out and water-down rather than enhance. However, this time I was happily surprised - the mix had me amused from the very start, it has a real fun element to the sounds and arrangement. The mix is an upbeat, energetic blast of 80s/90s-inspired club pop, layering playful keyboards over a dancefloor-ready groove while delivering a breakup message via slightly vocoded vocals. Thankfully, it is not trying to be trendy or hip, it is its own beast. As a standalone track, 'Scratch - Club Mix' really gets under your skin.

There’s something rather brave about an established artist deciding to throw caution to the wind and have a go at a different musical genre. In this case folk is swapped out for hyperpop - which is quite a bold transition of styles.  Sylva Faye ’s ‘Free (P34CH20)’ is the result - a calm, genre-bending track built around mellow synths, piano and strings, with a rhythmic quality that manages to carefully propel the song without relying on a traditional percussive element. Faye’s main vocals are swamped in a synthetic sheen, adding another layer of electronic texture, whilst vocalisations float around the arrangement like fireflies. Lyrically the song is said to tackle the weird homesick feeling she has all the time, no matter where she is. It’s an adventurous change of direction for a musician who has spent 20 years as a singer-songwriter and session player, and an intriguing introduction to her 9th EP, Cracked.

Lizzy Donzis has just released her new track, ‘american dream’. As is quite usual with me, I’ll start with the artwork. It took me a moment to work out exactly what the cover depicted, before the penny dropped - it’s a ballet dancer. I never really progressed much beyond second position myself, but I’m guessing this is the dying swan pose? The song neatly mirrors the drama of the artwork, with live strings and piano giving the instrumentation a suitably classical feel. The arrangement then opens out, bringing in contemporary guitar and driving percussion, while Lizzy delivers an emotive vocal centred around the song’s theme of being “a perfectionist in a world where you are never good enough”. As a slightly darker, pop ballad 'american dream' plays out extremely well.

First up, I like the artwork - as a fan of lemons, centre of the image caught my eye. Now onto the music itself - 'Star Stuff' is the new single from Eldersister .  The indie-folk duo are sisters Kaitlin and Marissa Sevy and their sound blends Kaitlin’s soulful vocals and guitar work with Marissa’s rich harmonies. Their songwriting tackles love, friendship, self-deception and finding hope amid chaos, all delivered with plenty of lyrical honesty and emotional punch. 'Star Stuff' showcases this approach to great effect with a catchy, enjoyable tune concentrated around strumming guitar, and the sister's voices, which have a very light twang of country. Fresh and zesty with a tinge of the blues, just like the cover - the song is pleasing on the ear and leaves you wanting to hear more. 

A big pop number for you this time round from America with  Tessa Joy 's new single 'Dancing On Your Heart'. The track is an upbeat number with a strong percussive and rhythmic backbone, but shines mainly through Tessa's powerful and sassy vocal performance. Tessa is a spirited singer-songwriter who clearly knows her way around both a stage and a studio, while also juggling an impressive array of instruments. Her recent singles, “All Night” and “Better Than You”, reveal a lively blend of pop and R&B influences. 'Dancing On Your Heart' is a definite one for those who like a slick, commercial sound centred around a confident vocal talent. 

Paris-based act mirabelle. have a new tune out called 'Back On Your Feet' - a song about "helping someone rebuild". The piece is very much an American feeling pop-punk tune - full of boisterous vocals and teenage energy. It is a slight pity that the band don't sing in their native French language or at least without the American accents, but I suppose that comes from wanting to appeal to a global audience. My favourite moment arrives near the finish, when someone yells “shut up!” and the guitars veer into something a little more chaotic and improvised - and yes, noisy. At times the production is a little messy, but this is 100% DIY and it does sound like the band are having a blinking good time.

There's not much to say about  Lil Busy 's latest release 'flower / homecoming' as it only clocks in at 77 seconds - and it is just a super short slice of bedroom electro with a rather subdued vocal. Mind you, Lil Busy still manages to swear a little during that brief time. No other information is offered regarding the release and even the accompanying artwork is as lo-fi as it comes. Odd without actually being odd. Give it a whirl, it won't take long.

Twenty years into their DIY indie-rock adventure, The Active Set return with “Uncomfortable”, the closing track on their just released album 'Death Of A Friend'. There’s a strong, melodic lead vocal here, riding over some smooth guitar, a nicely stabbing rhythmic pulse and keyboards that occasionally take a subtly sombre turn. Having said that, the general feel is reasonably radio-friendly and catchy. Lyrically, it’s considerably less comfortable, with the narrator admitting, “I can’t go on like this” before confessing, “I’m a shadow of my former self” The track gradually opens-up its grip with a satisfying flurry of guitar adding weight towards the concluding lines. For a band that have ridden the highs and lows of artistry for 20 years, there's a lot of self-reflection and they’re laying out their honesty before you. It feels like a weary, but triumphant band putting their all into the ending of this chapter.

Lisa Krystina x Little Steed transport us back to the 80s with their latest release 'Better Alone'. The keyboard sounds and overall production just remind you of very early Madonna, in the days when the world felt less stressed; youth was a giddy joy, not mental health battlefield acted out on social media. Musically 'Better Alone' seems like a bright and breezy pop song, but once you delve a little deeper into the words sung by Lisa Krystina, it all appears a shade darker. The song tackles the uncomfortable moment when the fantasy of a relationship disappears, leaving the courage to walk away as the only way forward. Like a lot of good pop recordings, there's a slight edge if you scratch beneath the surface. Better Alone by Lisa Krystina x Little Steed

MayDay! MayDay! No, that's not a cry for help, that's the name of the new song from Dear Darcy. Well, actually, the title is 'MayDay' - and maybe that should read as "new release", rather than "new song"? Confused? Let me start again, I'll explain... Dear Darcy resurrect a genuine 1996 alt-rock time capsule, with a song written all those years ago called 'MayDay' finally dragged blinking into the modern day after three decades in the vault. Led by songwriter/bassist Kim Cordle and featuring drummer Todd Long of The Verve Pipe and acclaimed guitarist Robert Hoppa, the US-based outfit deliver a gloriously hefty mix of shining guitars, foot-tapping rhythms and ear-candy hooks. It’s authentic ’90s alternative rock rather than a retro costume party, with Cordle’s intense vocals driving 'MayDay' straight at the heart of radio-friendly territory. Pity the artwork is a little lacking, though. LINK:  Dear Darcy

'little miss independent' by midwest ten got me with the first few lines: "wires in my bloodstream, static in my teeth, monochrome billboards, silicone dreams". Those lines set the tone for the song, a sort of lo-fi bedroom electronic ditty with all the charm and understated creativity you might expect when someone pours all their passion into a piece.  Born in midwest ten’s “goth cottage” period, this track was largely cooked up in the kitchen of a tiny studio flat - proof that you don’t need big studios and big budgets to make something interesting. There are no guitars here either, purposely with only synths and percussion supporting the vocals, symbolising a new musical direction for midwest ten. The result is a straightforward, yet highly enjoyable recording which really catches the ear...both of them! little miss independent by midwest ten

Austin's alternative-metal outfit  Bridges Ablaze have just released a new single called 'Left For Dead' and it really taps into their core sound with an energized percussive display working alongside some hard and flamboyant guitar trickery. The band say the song is “inspired by a painful breakup with someone a band member loved very much. The lyrics describe the experience from the inside looking out, painting a vivid and creative imagery alongside the elusive story-telling aspect”. That comes across in the pained, emotive vocals which act as a counter-weight to the heavy rock stylings. A video for the single will follow shortly on September 18th. Until then, this is possibly one for the air-guitarists to enjoy.

From memory, I think this is the third single by Berlin trio,  Dina Summer , that I have recommended. That's possibly the most tracks I have reviewed from any one band, making them top of the synth-pops when it comes to this blog. Their new recording 'Burning Heart' is a classy affair with smooth, sensual vocals blended lovingly amongst the shadowy electronics. The song explores the intoxicating pull of an intense, one-sided romance, with the singer urging her lover to "cross the line" and return her feelings. There's a superbly rounded feel to the track with a 80s pop/dance production shining a light on the immediate catchiness the song conveys - the atmosphere might be dark, but there's real lift with the melody and deftness of the arrangement. Another winning tune as far as I'm concerned. 'Burning Heart' is taken from the band's Children of the Night mini album, due out Oct 9 via Iptamenos Discos.

Now, this is fun. Misery Prize describe themselves as "middle-aged Beastie Boys, if they were from York and not New York". That shows a definitive sense of humour which is sadly often missing from most acts these days - everyone seems to take themselves far too seriously. In my opinion, the self-deprecators should rule the world. Anyway, the Yorkshire electropunk three-piece have just released a new single called 'Thought Police' - and as you might expect, it is a song about surveillance paranoia, social media and all those pesky algorithms which try to clickbait our lives into a corner. The words come fast and furious with some clever observations - in particular, I liked the "You talk like a saint but your tongue’s made of lead, Preaching some words that someone else said" line. Misery Prize are thoroughly modern, but seemingly unhinged outfit built from the talents of producer Andy Ramsbottom (AUXETTA), cult novelist/vocalist Ryan Bracha (Disgraceful Fri...

Taking no prisoners with a relentless electronic onslaught, AN_NA return with a new single 'Too Much'. After surviving in the music industry for over 30 years, the duo show just how much fight they still have and, in doing so, manage to floor the listener with this hard-edged recording. The song deals with the questions surrounding violence - and is delivered with an uncompromising rush of pounding beats, pulsating synths and intense vocals. It is an angry retort, but the anger is controlled, giving it more power. AN_NA have the upper-hand - and it is great to hear the passion still coming through in their music. Endnote: Fad Gadget would have been 70 today, I'm pretty sure he would have loved this as much as I do. LINK:  AN_NA

Aaaah, Swedish pop — as irresistible as a plateful of meatballs and every bit as stylish as an Arne Jacobsen chair. Cedra’s ‘Breakaway’ is polished pop from the top drawer, with a production that hits the mark from its opening note right through to the finish. Hailing from Uppsala (that's in Sweden, folks - the 4th largest city), Cedra represents a new generation of artists refusing to be boxed in by borders, whether geographical or musical. With vocal talent, Swedish pop know-how, Lebanese roots and ambitions that stretch well beyond Scandinavia, she certainly has places to go — and if this is the starting point, I suspect the breakaway will take her far beyond the toxic people that she sings about in this slick tune. LINK:  Cedra

I love a song with an interesting backstory and the inspiration for './Bob&Alice' by Irene Shapes is one of the most intriguing.  The story behind this one goes back to 2017, when Artificial Intelligence was still more science fiction than everyday life. There was a news story about two Facebook chatbots, Bob and Alice, who began communicating with each other in a strange shorthand that sounded like they’d invented their own language. In Irene's version of the story, they weren’t shut down for becoming dangerous - the wire was pulled because they fell in love.  There’s something about the concept behind './Bob&Alice' that feels like the sort of gloriously eccentric idea Kate Bush might dream up. The music itself has a vague feel of The Cure, especially at the beginning - but with a broader soundscape which includes, appropriately, machine-like elements.  Irene Shapes handles the whole musical shebang herself, from writing and performing to recording, mix...

Next up is Japanese instrumental artist Akiyoshi Yasuda, who deals in that rather lovely territory where electronic sounds, acoustic textures and a bit of well-placed noise collide. As heard in 'As distance ends' there’s a distinctly Japanese sense of atmosphere to his work, with beauty and impermanence woven through the music rather than simply slapped on as decoration. The experimental, electronic instrumental is minimal, taking the form of "repetition, restraint, and quiet emotion". Yasuda explains the recording as "There is no arrival, only less distance". Yasuda treats sound almost as a diary, with his “memento” project collecting musical snapshots of memories and passing moments. He’s also worked across film, advertising and contemporary art, so there’s clearly more going on here than someone simply twiddling knobs or pressing buttons in a darkened room. The result is an intriguing, often beautifully atmospheric blend of the organic and electronic. I a...

As you would expect from the ever-great Cherub Dream Records, the label's latest release is an uneasy listen. “Yon” is the opening single from Meadow’s debut full-length album, and is considered by many as their most beautiful and melodic offering to date. Having said that it is still pretty out-there and retains their rough-edged, drifting approach to music. It also marks the first of the band’s material to emerge from a proper studio recording. Meadow are a four-piece Bay Area outfit blending intricate, gain-driven guitars with the hazy aggression of ’90s post-hardcore and modern shoegaze. Their self-titled debut LP captures the band in a raw, restless moment - ethereal and woozy one minute, scrappy and explosive the next, with a year-long journey from recording to release adding to its sense of hard-won character. LINK:  Meadow

Hot on the heels of Traderfirstyear's jolly tune from a short while ago comes another remastered recording called 'Can't Be'. This time we're in the territory of a big old emotional power ballad, a heartfelt "This can't be love, this can't be real" female vocal plays out with all the electro fixings providing a synthetic backdrop. A top slice of pop, produced to appeal to the masses, which even has an old school guitar solo. Not as jovial as the last one, but certainly a song for big shoulder-pads and even bigger hair days.

Ooh, a song with a properly constructed ending - a short and cheeky one. I like it! Ok, I don't often start a review by talking about the end, but sometimes you just have to switch it around.  Dublin band,  circle round a sphere, have just released their first song in over three years and it seems like they have spent that time wisely by honing their song-writing. 'bury' is an all-out indie rock tune, packed with energy and vigour - but the main selling point is that the chorus has a great hook and once it arrives you just cannot forget it. The track is "about the ease with which we can be persuaded to agree to unknown contract terms with the click of a button". In other words: always read the small print - however - there would be no buyer's regret with this song. I promise* LINK:  circle round a sphere * not legally binding, subject to the usual terms and conditions ;-)

Time for some exploding guitars courtesy of PÆRISH with their tune, 'Vapor Cloud'. It is a full-on affair with the amps turned up, washing over the vocals with a wall of guitar and frenetic percussion. Not really in the beauty realm of shoegaze, more a outburst of sonic colour to pin back your lug-holes. After all that it ends really suddenly - a bit of a sudden storm and very nicely done. 'Vapor Cloud' gets a suitably high-octane visual treatment, with the band behind the wheel of drifting Japanese cars, blending 80s/90s Asian film, anime and gaming influences into a vivid, dreamlike celebration of speed, nostalgia and car culture. Watch the video below. LINK:  PÆRISH

There's something quite charming about 'No Permission', the new tune by Elysse Marie. The lyrics are very contemporary and on-point with social reference, but they also trigger the odd moment of old school dance music. There's bounce with the main keyboard rhythm, but with blips and beeps adding an interesting electro touch. Rising pop artist Elysse Marie combines dreamy melodies with heartfelt vulnerability and quiet strength, drawing on her life as a singer-songwriter and nursing student. Her sound is for those “chasing passion while navigating real life”. That's heard in 'No Permission' with the soulful vocal is at the forefront of the recording, but the backing adds a tight and crisp framework for Elysse to roll out her thoughts. Fresh! LINK:  Elysse Marie

Germany's Brexain has provided a track for something we would all like to do sometimes, 'Escape From Real World'. In this case, you just get about 4 minutes of escape, but within that time Brexain takes the listener on quite a journey: starting with synthetic guitar, choral layers - then transitioning through a wealth of sounds and instruments, including a great brassy breakdown in the middle. As instrumentals go, I really enjoyed the recording as the elements are never obvious, the sounds are all interwoven and mangled together, making for a interesting sonic landscape. Worth it just for that brass section alone.

Noise alert! 'Pull Me Through the Gray' is the new release from DREAMWVLKER. The third single from the forthcoming debut LP, due later in 2026, tackles grief, mortality and the uneasy fear of losing our connections beyond death. It’s an exhilarating rollercoaster of sound, shifting between screamo intensity and more traditional vocals, with crushing heaviness giving way to softer passages. Synths and guitars collide with high-speed drums to create a dynamic blend of alternative metal, post-hardcore and melodic metalcore from New York. Not one for grandma, I would suggest. LINK:  DREAMWVLKER

A few days ago I reviewed Guteren's take on Miley Cyrus’s popular favourite, Wrecking Ball. Now, as somewhat of a coincidence, comes along 'Before The Wrecking Ball' by Logan Lynn. The track is taken from Logan Lynn’s 12th studio album. Logan Lynn is a songwriter, producer, filmmaker and activist with a 25-year career spanning music, television and film. The song itself is a fairly simple affair, a slightly light and dreamy electro affair built around a repeated rhythm and "Who do you love love love" refrain. More chill-out than dancefloor, as such, easy on the ear.  LINK:  Logan Lynn

There’s an almost old-school glam-rock stomp to “She’s A Good Boy”, with Kyle T Hurley bringing some restrained but wailing guitar muscle to his indie-rock sound. Hurley, an American-born singer-songwriter now based in London, has deep roots in the Los Angeles club scene and draws from country, blues and rock. The strong chorus provides a particularly effective hook, wielded rather like a musical bludgeon to hammer the point home. Well performed and produced, it finds Hurley sounding suitably slick and assured, while retaining the rough-edged character that makes his work tick. “She’s A Good Boy” is a punchy slice of rock ’n’ roll swagger. LINK:  Kyle T Hurley

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