A bit Mum, a little bit Liz Fraser, a smidgen Psapp. They're from Dundee and say other tracks on their soon come album are more guitar based and take influence from Stereolab and Life Without Buildings. Curious.
From the album review what we wrote: "Hoola would be mistaken for the post-punk class of 2005 were it not for the maniac tension in Windett’s vocal and the constant sense that everything is about to totally take off." Listening again, it seems more disco-not-disco than we must have clocked then. Definitely don't remember that bit in the middle either.
So you read about and downloaded it from us; now you can watch it too.
Coltrane Motion- Please Call it a Comeback from Milk Products on Vimeo.
First stirrings of Essex Arms, the long promised second in Hayman's local county trilogy released 4th October and featuring guest appearances by the Wave Pictures, Fanfarlo and Emmy The Great. It already seems tailor made for us. We've heard a few songs from this live and it seems on snap reaction to be the triumphant folk record with a pleasingly dark undertow he's always threatened to release since going solo
From a debut proper EP out on August 23rd, Wrexham's finest hitch up their Macbook-synth madness skirts and patent math-glam
People who make a habit of talking about new music have made a habit of talking about Mike Hadreas, a Seattle singer-songwriter who Gareth Campesinos! has been going on about for ages. He restricts himself to vocal and piano in much the same way Bon Iver or early Sufjan/Elliott Smith was just vocal and guitar; cracked high vocals, often covered in reverb, lyrically diary cuts rubbed away to the meat and raw bone, sounding completely broken down by life.
The more we hear them, the more we think Talons are setting new standards for British instrumental post-rock. The guitars surge and swell, the duelling violins add proper drama. Some of them will also form part of the Shoes And Socks Off full band experience on tour at the end of the month.
Talking about modern versions of glam up there, this comes equipped with a massive four to the spangly floor beat, only to undermine it with a quasi-Black Sabbath riffola. Sounds like vikings, certainly.
Nathan Williams, once a pharmaceutical friendly two-chord fuzzy riffmeister of little extraneous worth, goes hi-fi and turns into a natty, punchy surf-punk/power-pop tyke with proper sunny melody afront. It's his own Let's Go Surfing, in more ways than one.
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