Indie duo, Colour Formation, have released a Christmas single like no other with their latest release ‘Until We Meet Again’. Singer-songwriter Laura Osborne penned the poignant and powerfully upraising single for her parents, reinforcing the resilience which we have all had to find throughout 2020. The lyrics reminisce on tradition without an ounce of remorse. Instead, a sense of gratitude runs through the single. We might not celebrate Thanksgiving in the UK, but that’s no reason not to find gratitude for the people we have in our lives, even if we can’t be with them physically right now. The assuredness that we will be reuinited is the cherry on this stunningly contemporary aural cake.
Until We Meet Again could have easily be considered as one of the best contenders for the John Lewis Christmas advert. And no review of this single would be complete without the admission that the floodgates well and truly opened.
You can check out the official music video which released on December 4th by heading over to YouTube.
Dawn of the Squid’s debut album ‘Hubris’ is an explosion of archaic and theatrical ingenuity. If Frank Turner and Shakespeare had an aural lovechild, it would undoubtedly be reminiscent of the standout single ‘Barking Up the Wrong Tree’
With a baroque feel to the Alt Folk single, the soundscape catapults you from this crushingly weird 21st century into a decadent past by projecting you through the resounding strength in the eccentric London-based artist’s unfalteringly fierce Punk crooning.
Any fans of Amanda Palmer, Tim Minchin, Emilie Autumn and Fable Cry will definitely want to indulge.
You can check out Dawn of the Squid’s album Hubris for yourselves by heading over to Spotify.
The true silver lining of the global pandemic is the number of new releases which offer such resounding resonance to pretty much anyone who hits play. Singer-songwriter and instrumentalist FM Towns’ contribution to the airwaves, ‘Sleep for Another Year,’ validates paralysing morosity and monotony we’ve all endured during lockdown.
The Suffolk-based artist proved with their debut release that hymns aren’t just for faith followers. The timelessly transfixing tones are just as resolving to impious ears, especially when arcane instrumentals ethereally coalesce with strikingly melancholic perfectly-harmonized vocals.
Sleep for Another year was mixed by Grammy-award-winning engineer, Eduardo De La Paz. It would be no surprise if FM Towns came to share that very same level of acclaim during his career. You won’t come across a more promising debut this year.
Indie Synth Pop doesn’t come much more entrancing and anthemic than the forthcoming release ‘Restless’from the LA-hailing trailblazing masters of rhythmic electronica, Westerner.
With lockdown claustrophobia thick in the air, this exuberantly dynamic release perfectly captures the collective frustration as the desperation to live instead of simply exist intensifies. All the while, Restless feeds you euphoria through the deftly crafted sticky-sweet polyphonic progressions which unravel with a kick of psychedelia.
You’ll have to wait a little longer before you can check out Restless for yourselves. In the meantime, head on over to the artist’s Spotify to check out their earlier releases.
The Kid and I’s latest Indie Garage Rock track, “White Feather”, is a tender extension of compassion orchestrated to reach out to anyone who knows how hard the grief hits while validating the struggles of anyone coming of age and attempting not to slip through the cracks.
Their exuberantly raucous Garage sound which is laden with scuzzy hooks amps up the energy while the imploringly empathetic vocals offer a grabbable olive branch of connection. I can imagine it will be a fair while befor the infectiously charismatic chorus stops reverberating around my mind, but the earworm to the epic infusion of Pop Punk, Alt Rock and indie will always be welcome.
You can check out White Feather which dropped on November 13th via SoundCloud.
London-based trio Alchemy3 made their Alt-Indie debut on October 29th with the mesmerically compelling release “Ride Us Through the Storm”. Hit play and you’ll quickly come to realise how they came up with their moniker.
The high-vibe creative expression runs rampant through the tantalising soundscape, which is a minefield of aural curveballs, but each unexpected evolution in the single affirms that Alchemy3 have the ingenuity and the positivity to make a difference to the airwaves.
Ride Us Through the Storm is a track which utterly consumes you when you hit play, and I think we can all agree, aural escapism is more valuable now than ever. With vocals which share hypnotic reminiscence with the likes of Nadine Shah floating atop of the intricately orchestrated instrumental arrangement which mixes acoustic instruments with dreamy electric guitar notes, the single unravels as one of the most stylistically and lyrically profound singles I’ve heard this year.
You can check out Alchemy3’s debut single by heading over to Bandcamp.
There was no forgetting Epsom, UK Alt-Indie artist Versonic after we heard their magnetic Indie Shoegaze track, A Second in Time in 2018. This time, they’re back with even more harmonic motion and sonorous lyrical depth with their single “Seen it All”.
Perceptibly, 2020 has had a profound effect on the already highly acclaimed award-winning songwriter Stephen Connor. If you’ve been fraught with ennui recently, it may just feel like the lyricism has been taken from your own unshockable mind which scarcely knows how to react to atrocity anymore.
Despite the resilient upbeat vitality of Seen It All, there’s no retracting the striking melancholy from the lyrics. But that’s not to say that you won’t find plenty of soul-soothing accordance in the driving, cavernous, radiant track which will definitely appeal to any fans of the Alt 90s sound.
Seen It All is available to stream and purchase via Bandcamp.
The Ivins stirred up the Nashville sound with their Funk-riding take on Indie Alt Rock through their latest single ‘Bloom’. Expect sonic nuance and melodic angular hooks which will leave you lacerated as you fall into the sticky-sweet nectar which drips from their affably accessible sound.
With soaring choruses, tenderly imploring vocals which share the same soul-stroking propensity as the likes of Silversun Pickups, you can’t help getting engrossed by the familiar yet discernibly fresh mix of modern Indie and the timeless tones of the Alt 90s.
It’s hard to feel pessimisic about the future of the music industry when artists such as The Ivins offer such adrenalizing vitality in their sound. Get them on your radar.
J. Morarty has, in recent years, lived in Morocco, the Maghrib, the West Bank, and Appalachia and now resides in Ohio. ‘Ride Side’ takes in this rootlessness and lack of stability, mixing it all up in a Covid Quarantine-induced haze into a transpositional, transportive piece which puts the listener into the time and place Moriarty occupied when composing.
Gently acoustic, beautiful strummed guitar chords pushing the melody along behind a vocal from Moriarty steeped in sixties or seventies Gram Parsons Americana mixed with Evan Dando’s ‘ All My Life’ or the quieter, chilled moments of the ‘It’s a Shame About Ray’ album – think ‘Hanna & Gabi’ or ‘My Drug Buddy’ and you’re pretty close – before the suddenly off-tempo slapped-percussive ‘ooh ooh ooh’ bridge catches you unaware, bringing in the full psychedelic Leslie-cabinet instrumentation and reminds you that this is a modern, thoroughly grown-up track that twists and turns stylistically through handclaps and bass-line led pop, but all held together masterfully by Moriarty’s soulful vocal delivery.
Whereas 8udDah Bl0od’s previous couple of submissions have been instrumental compositions, ‘Nevermind’ is something different; a three-minute grooving, charming alt-rock number in the style of the Dandy Warhols, The Brian Jonestown Massacre, or Louis XIV.
It’s chilled and laid back, loose and psychedelic in feel with a sleazy, dirty guitar riff that’s almost reminiscent of Duke Erikson’s work with Garbage.
With a bohemian, filthy bassline and a properly salacious rock n’ roll backbeat, all topped by 8udDah bl0od’s trashy, disreputable sneered vocal, ‘Nevermind’ is a proper rock song, all attitude, snarl, and swagger. “I think it’s time I severed my ties” he sings on the chorus; on the basis of this track, he’d absolutely better stick around instead.