London-based singer-songwriter, Lilo, is set to release her 80s synthpop anthem, Everything I Ever Dreamed Of, which brings hyper pop energy, sweet ABBA-Esque piano chords and artful vocal timbre that allows you to imagine how Florence and the Machine would have turned out as an 80s synth-pop outfit.
Under the lush layers of reverb, the dancey beats boast a hypnotic texture, making Everything I Ever Dreamed of the perfect multi-functional indie pop playlist staple.
I’ve heard my fair share of contemporary twists on the 80s sound in the last year; it is safe to say that none left me as enlivened by the ingenuity as Everything I Ever Dreamed of which is due for official release on October 22nd, 2021.
Singer-songwriter, Emma Hunter, has been the voice of popular Oxford-based bands such as AmberState and the Halycons, and since 2019, she’s worked alongside drummer, Tom Bruce, putting her own formidable spin on alt-indie-pop.
With vocals which pull you in with the same strength as Florence Welch’s or Marina and the Diamonds’ coalescing with instrumentals which veer from mainstream archetypes while retaining all of the commercial potential, it’s impossible not to become consumed by her viscerally poignant releases. The single which caught our attention and refused to let go was her latest single, ‘Here I Go’, which demonstrates how seriously Emma Hunter takes her responsibility of creating light from the dark.
Here I Go artfully extended the conversation around domestic violence by a perspective-shifting length. It exhibited the weakness of perpetrators compared to that of survivors who have been psychologically crushed or physically abused by ‘romantic’ partners. For the first time as I watched the nuanced video unfold, I contemplated the unlikelihood of abusers being able to endure what a victim does, concluding that intimidation through power is the ultimate form of weakness.
With lead guitar tones which insidiously creep throughout the soundscape, the trepidation leaves you transfixed from start to finish, it’s a track which keeps your breath bated until long after the prelude. I honestly couldn’t have more respect or admiration for Emma Hunter and her classy controversial sound.
The official video to Here I Go is available to stream via YouTube.
Indie Slovak-based Pop duo Dennyiah have released their lockdown-born debut album, Human Aspect. It would be no exaggeration to say it is one of the most viscerally pioneering albums to drop this year.
The authenticity is only matched by the artist’s ability to utterly consume your consciousness through the sheer intensity of the sound. If you’re anything like me, you’ll have found any discernible emotion hard to come by over recent months. I think I practically overdosed hitting play on Dennyiah’s debut album.
The potency of the emotion carried in the vocal notes is overwhelming from the start. There are some Florence Welch reminiscences within the high notes, but then raw vocal power which parallels the likes of Cyrus while emitting the same evocative magnetism as Sharon Van Etten kicks in. Don’t be surprised if you’re choking back the tears listening to these succinctly colossal singles run through.
With Grammy-award-winning artists such as violinist Adam Baldych joining the collective of instrumentalists who contributed to the track which was mastered by Dave McNair (Bowie, Springsteen, Hole and Maroon 5), it’s no great surprise that Human Aspect borders on the celestial while offering promising modernity.
You can check out Human Aspect for yourselves by heading over to Spotify.
London based Hannah Harper seems to make music which wonderfully captures the city that she is based in. It is at once artistic and slick, pushes pop music into quirky, staccato dance realms, feels wonderfully urban, uptown, classy and shimmers with the pace and edgy energy of the city around her. At a time when pop music seems to have hit a formulaic, production line creative process, where most are content only to make music in the mould of what has already been successful, Hannah’s debut single marks a fascinating departure.
Already picked up by BBC movers and shakers, Appetite is the sound of things moving on, of barriers being pushed aside of new paths being beaten through previously unexplored territory. But the clever thing is that whilst offering something new, it isn’t too radical either. The beats and the structures are still familiar it is just the way they are put together is intriguing. It is, in fact, the best of both worlds, a new sound but one for which there is already a captive audience via popular radio and clubland playlists. It is safe to say that the evolution of pop music just took a very big stride forward.
Besides their enticing and enigmatic moniker, Bermuda Angels have a lot to offer to their audience. Their recent single, “On The Run”, is a perfect example of how they managed to create stunning, direct and inspiring sounds that blur the lines between various genres, including indie pop and electronic music.
One of the first elements in this mix that truly grabbed my attention was definitely the great drum machine sound. The tone of the beat feels really powerful and huge, but it never overpowers the mix. On the other hand, it feels balanced and direct, perfectly aligned with the song’s structure and acting as a great backdrop for all the other elements in the mix, including the masterfully executed vocals and the great synth sounds.
The song makes me think of the work of artists such as James Blake, Daughter or Florence and The Machine. The brooding textures and intricate beat patterns create a stunning musical contrast, as darkness and light chase each other in a stunning dance through sound.
‘Poison Words’ is a call to arms for anyone who has been a victim of verbal abuse in some form or another.
Leena says of the track;
“Poison Words is a song about people who think it’s ok to verbally abuse someone close to you, apologise afterwards and then act like nothing happened. No, it’s not ok. Explaining that ‘I didn’t mean it’ and being ‘in a bad mood’ doesn’t cut it, the damage is done.”
Leena‘s recent video for Little Place(produced with Benbrick (Troye Sivan)) has received an astounding 35,000 plays in under a month, and Poison Words once again confirms that Leena‘s unique vocal capabilities and production techniques are a force to be reckoned with.
Leena was born in Germany to a Finnish father and English mother; her early years were spent in Germany, Hong Kong and Essex before Leena found herself in London aged 17. Influenced by the likes of London Grammar, Rae Morris and Florence and the Machine, Leena – an obsessive about her music – took her time experimenting with her sound, honing and tweaking. She was in no hurry. She knew what she was after.
Leena went to Berlin – a city renowned for its anarchic creativity – and spent months absorbing all it had to offer, using that as inspiration in her music and her lyrics. A final stint in a studio back in London, reworking bits here and there and she knew she’d finally nailed her sound. ‘EP1’ released in November 2015 was her first offering.
She now plans to release a single once a month until the end of the year. There are also plans for a second EP.