Up and coming Alt Folk Rock artist Peregrino released their debut album “Feels Like Leaving” in 2019. If you missed it, you also missed a record which could simultaneously appease Soft Rock, Folk and Psych Blues fans alike.
If you dissect the standout single “Fire Away”, you’ll find a sticky-sweet melange of warm and cathartic tones which seem to evolve with each progression. The momentum may build, but the tranquillity of Fire Away is perpetual.
Fire Away kicks off with a mesmerizingly winding melody which ensures that you’re suitably captivated before Peregrino’s vocals creep in with plenty of vocal resonance. While Peregrino may share vocal reminiscences with the likes of Elliot Smith, the soundscape is a dynamic feat of ingenuity which you’d be hard-pressed to find anywhere else.
You can check out Fire Away along with the rest of Peregrino’s album for yourselves by heading over to Spotify.
Up and coming singer-songwriter Million Pebble Beach has made her debut with the delicate yet playfully captivating single “The Elephant”.
With a baroque slightly carnivalesque edge, anyone who appreciates music which is slightly on the more archaic side is sure to be left enamoured by the escapism offered by the arcane soundscape. Yet, with the electronic instrumentals alongside the ethereal orchestral notes, there’s no doubt that the single belongs on contemporary airwaves.
With her debut album “The Adjacent Impossible” due for release on March 1st, 2020, Million Pebble Beach is more than worthy of a spot on your radar. Melodies which are as catchy yet artfully-inspired aren’t ambled across every day.
Alt Folk Pop Singer-Songwriter Belle Shea released her most transfixing single to date with “Smoke & Mirrors”.
The unpredictable progressions allow Smoke and Mirrors to evolve from an ethereally moody feat of Pop into a Neo-Soul Jazz-soaked soundscape with sporadic increments of Indie Rock thrown in for good measure.
Belle Shea’s vocals also prove to be just as dynamic as the instrumental arrangement in Smoke and Mirrors. From arrestive delicacy to resounding tensile warmth, you’ll be treated to it all if you hit play on the simply stunning single which fades out after a striking semi-orchestral infusion.
Yet, the essence of the track truly lies in what Belle Shea delivers lyrically – the lyrics in Smoke and Mirrors are practically metaphysical poetry.
You can check out Smoke & Mirrors for yourselves by heading over to SoundCloud now.
Toronto-based Indie Folk Rock artist Zafer has recently released their cinematically captivating single “You Can’t Stop This Train” which offers plenty of timeless appeal to fans of personably soulful Folk Blues.
If you like your Folk simple yet evocatively snaring, you’ll warm to Zafer’s rhythmically rendered single before the first verse draws to a close. As for the chorus, that’s all-consuming. And you may want to check yourself if you’re in public when you listen to You Can’t Stop This Train. It’s impossible not to let the deftly crafted rhythms move you.
With the effervescently shimmering organs, animated yet gently melodic guitar progressions and snappy concordant percussion, Zafer made the perfect platform to lay down their optimistically arrestive vocals. It will stay with you for long after it has haded to a close.
You can check out Zafer’s debut for yourselves by heading over to Spotify now.
There will never be anything as beautiful as someone who has seen the dark bringing the light with their music. And that’s exactly what happened when Amigo the Devil graced Manchester with his amicably macabre approach to Folk.
Within the realms of Dark Folk, you’ll find plenty of dark and twisted lyricism. But Amigo the Devil (Danny Kiranos) goes beyond that. He digs up the storytelling roots of the genre and exposes the complexity of 21st-century sentience with the addition of humour which will touch even the staunchest of existentialists.
I hadn’t quite anticipated how emotional a live set would be. Yes, you can practically hear each drop as his soul pours out through his lyrics on his records. But seeing the stinging conviction behind each word amplified their veracious meaning in a way I could never have anticipated. Yet, every time I was moved to tears, I was forcibly shifted back to laughter with his quick humility-soaked wit.
The words “crowd participation” usually send shivers down my spine. Yet, with Amigo the Devil, it’s almost a knee-jerk reaction to get caught up in the experience and become part of it in solidarity with his candidly expressive bravery.
Given that there’s a fairly eclectic array of instrumentals on their recorded material, I was slightly dubious how he could recreate that live armed with just an acoustic or banjo. But his inventive request for the audience to help out with foot stamping and clapping percussion was infinitely more immersive than any backing band could have been. He’d instilled unity in the room quite early on in the set by reminding us that death is one of the only commonalities which we’re certain to share, that will probably only sound depressing if you’ve never been to an Amigo the Devil Show.
It’s all too evident why a cult-like fanbase surrounds him. I think I’ve been indoctrinated, and I couldn’t be happier. If you get a chance to see him live, take it.
“Born Free” is the latest single to be released by the eccentrically experimental up and coming World music artist Castlemill.
You’ll find the usual organically textured woody percussion in Born Free, but within the arrangement, there are also inventively placed orchestral layers which you wouldn’t usually find in World Music. Yet, Castlemill has found a way to weave in a nuanced cinematic flair which makes the soundscape all too easy to sink into.
It’s uplifting, it’s innovative, and it’s given us more reason to get excited by the artist’s ability to orchestrate music which feels like an epic adventure whilst simultaneously feeding you catharsis.
You can check out Born Free for yourselves by heading over to SoundCloud now.
There was little chance that we’d forget the mellifluous tones of up and coming Folk artist Bluebyrd after hearing their debut album “Uneven Ground” in 2018 and their politically-cathartic single “Song for the Duped” in 2019.
With their first single to be released in 2020 “Not the Only Show in this Town” there’s plenty of serene resonance to soak up.
It may or not surprise you to learn that as a music journalist, I brush up against some caustically salty egos. Not the Only Show in this Time is a pedestal-removing chorally atmospheric reminder that self-projected superiority is more than a little ridiculous.
With the ethereal organ layers weaved into the Alt Folk Pop mix, there was a slight touch of Momus in the track. But ultimately, Bluebyrd’s sound is very much their own. And that’s just one of the reasons why the UK-based artist is incredibly easy to warm to.
You’ll have to wait a little longer before you can check out ‘Not The Only Show In This Town’ which is due for release on all platforms on February 14th. In the meantime, you can head on over to SoundCloud to check out their earlier releases.
“The Bard’s Waltz for the Queen” is the gloriously archaic latest single to be released from the unapologetically eccentric Folk singer-songwriter Gary The Bard.
With stylistic elements which would enamour fans of the Beatles and Bowie alike, there’s plenty of sweet colourfully melodic accessibility within the epic tentatively paced 14-minute track. Yet, their nostalgically romantic Bard-style lyricism will allow you to melt into a narrative which offers resonance amongst the grandeur and royalist ardour. If you’re looking to aurally escape the 21st century, you’ll strike gold with Gary The Bard.
Their endearingly authentic approach to songwriting may not be everyone’s cup of tea, but what good music ever is?
You can check out The Bard’s Waltz for the Queen for yourselves by heading over to SoundCloud now.
Up and coming artist Madhara has recently made their 2020 debut with the progressively organic soulfully magnetic single “Colours of the Wind”.
Kicking off with a prelude which wouldn’t be out of place on a Thurston Moore album, Colours of the Wind quickly evolves into an ethereally comforting offer of Jazz-infused Alt-Folk. The momentum may ebb and flow. Yet your attention will never falter away from the expressive ingenuity found in their daringly bold and colourful soundscape.
With everything from sweeping piano glissandos to funk-deep bass lines to striking semi-orchestral swells, you won’t encounter many tracks from up and coming artists exhibiting such an eclectic array of experimentalism. Yet, Colours of the Wind pulled together with complete concordance. Meaning that the single was able to exude an absorbing Neo-Soul vibe which demands repeat attention.
You can check out Colours of the Wind for Yourselves by heading over to Spotify now.
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If music grips me based on tonality alone, I know I’ve just stumbled across an aural gem which will be impossible to forget. Which is exactly what happened when I hit play on the debut Psychedelic Americana Folk EP from Christopher Alexander.
“Eavesdropper at the Delphi” is much more than your assimilative ode to the past. While each single is a hazily indulgent trip, the first track “Midnight Mountain Climber” throws you right into Christopher Alexander’s devilishly hypnotic sound.
Expect teasing progressions, sublime serpentine rhythms and alchemy conjured through the playful shimmering tones of the organ and the deep Blues guitar licks which allow you to taste the friction.
I’m quite glad that the first time I dove into the arcane magic of the EP no one was witness to the multiple jaw-drop moments. Discovering Christopher Alexander’s sound left little room for decorum. The vocals add yet another incredible dynamic. There’s a slightly ominous air to them which amplifies the magnetic pull of the soundscapes in a way which leaves you endeared to the artist. But also, you’ll be left wondering if they do voodoo in their spare time.
You can check out Christopher Alexander’s EP for yourselves via Spotify.