Browsing Tag

Echo and the Bunnymen

Duncan R Foley explores the spectrum of human emotion in his alt-rock odyssey, Colours

Anyone who keeps Pixies, Nirvana and Smashing Pumpkins in their record collection will want to decorate their playlists with the latest single, Colours, by Duncan R Foley, which pays an ode to sonic stylings of the aforementioned iconic outfits while bringing in a new brand of vibrant melodicism.

To evade the assimilative alt-90s trap that all too many artists fall foul of the South African Belfast-residing songwriter and producer introduced the romanticism of post-punk, in the same vein as Echo and the Bunnymen, into the vibrant soundscape along with the cosmic glamour of Bowie.

Using ‘colours’ as a metaphor for the broad spectrum of emotions that are part and parcel of the human experience, Colours is an efficaciously consoling release, which serves the essential reminder that feeling lonely and grappling with melancholy doesn’t make you an outlier, it makes you human.

Colours will reach the airwaves on September 30th; stream it on Spotify.

Review by Amelia Vandergast

The Tearless Life – Conversations with Angels: Heart-String-Tearing Post-Punk Transcendence

In the same way, Suicide, Joy Division, and Echo and the Bunnymen singles stir scintillating alchemy into melancholic souls, The Tearless Life’s seminal single, Conversations with Angels, is capable of the very same heart-string-tearing post-punk transcendence.

The cleverly intended imperfections in the production of the release from the East Lancashire outfit, which was founded earlier this year, only serve to add to the glitchwavey artfulness of the disjointed by dissonance single, which unravels as a lost-in-transmission call into the void.

While some howl into the void, others seek comfort in the realm of the celestial for comfort. If you can relate to the latter, your aural voyage into Conversations with Angels is guaranteed to be a visceral one.

Conversations with Angels was officially released on July 22nd; stream the official music video on YouTube, or purchase the single with the B-Side, Your Just Touch, via Bandcamp.

To keep up to date with the band by following them on Facebook.

Review by Amelia Vandergast

New Wave Indie Came Crashing in Through the 80s Cinematic Atmosphere in LUXTHEREAL’s Latest Single, She Said

The unforgettable Phoenix, Arizona alt-rock outfit, LUXTHEREAL, is on cuttingly sharp new wave form once again with their latest single, She Said. Any fans of Psychedelic Furs and Echo and the Bunnymen will undoubtedly want to add the nostalgic-for-the-80s amalgam of new wave, power pop and art-rock to their playlists.

The soaring vocals add an ardent edge to the sample-driven music universe orchestrated by LUXTHEREAL to abstract us from our own existence defined by our mortal coil and existential dread. With guitars as atmospheric as the ones that ring across Lips Like Sugar between the riffs and guitar hooks that carry as much emotion as the strident vocal lines, She Said is aural escapism at its finest.

She Said was officially released on January 27th. Hear it on Spotify.

Review by Amelia Vandergast

Siggy are harbingers of future in their proto-punk comeback album, 25th Century

Featuring a cover of Echo and the Bunnymen’s Lips Like Sugar which contains all of the salacious murky atmosphere of the original, it is safe to say that Siggy’s comeback album, 25th Century, arrived with a proto-punk bang.

After making their debut in 1999 with the album, Harlow’s Girl, which carried a Crampsy sense of killer off-kilter volition, 25th Century had a lot to live up to, but the rhythmic pulse is strong across the 10 singles which traverse the themes of hope, fury, and the rank psychic pathology of the 21st century.

The gothy Echo and the Bunnymen vibes carry across more than just the cover, along with hints of Television and bites of Splitter-Esque punk. But for me, the highlight had to be the title single, which truly embraces the stifled with strange nature of the 21st century while throwing back to the time when guitarists knew how to lick right into your soul. “If there’s going to be a 25th century there has to be 21st century morality” is a lyric I will never forget.

25th Century is now available to stream on Spotify.

Review by Amelia Vandergast
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Marcel Schechter has released his decadently dark pop single, Circle.

Ahead of the release of his third album, Circle, the German artist and sound engineer, Marcel Schechter, has released the title single. it intriguingly sets the euphonically pensive tone and welcomes new listeners to Schecter’s bold arrangement style that effortlessly resonates as artfully distinctive without needing to veer into the Avant-Garde territory.

With hints of Echo and the Bunnymen and New Order in the melancholic cascading progressions, and the plaintively dynamic vocals atop the mash of dark, fluid aural alchemy, this moody yet intrinsically hopeful single doesn’t fail to hit the evocative spot.

The single also features the revered artists Ben Jud (bass), Jan-Philipp Wiesmann (drums), Thomas Langer (guitar) and Andreas Pohr (lead vocals).

The single, Circle, is now available to stream on SoundCloud.

Review by Amelia Vandergast

Western Bloc – Monkey Christ: Darkwave Avant-Garde Post-Punk

Western Bloc

I never thought Glenn Branca would have competition, but Western Bloc’s darkwave avant-garde post-punk composition, ‘Monkey Christ’, parallels the ethereally phantasmic effect in The Ascension. It’s got the class, nihilism and theatrical flair but through the consistently evolving progressions, you’ll pick up on contemporary post-punk styles through the reminiscence to the Editor’s impassioned sound that tends to air on the melancholy despite the bursts of energetic angsty euphoria.

Any fans of SWANS, Magazine and Echo and the Bunnymen definitely won’t want to miss out on the official launch of the Calgary-based artist’s forthcoming album, which is due for release in August 2021.

Check out Western Bloc for yourselves by heading over to the band’s official website and SoundCloud.

Review by Amelia Vandergast