The up-and-coming Melbourne songstress Douzey wore her anachronistic originality on her sleeve when she penned her latest euphonically utopic single, Hera’s Song. If you thought Barbie was a feminist triumph, wait until you indulge your senses in this ode to the goddess of women.
With neo-classic tendencies that lend themselves to the ornate elegance of the release and contrast the power in Douzey’s Tori Amos-esque vocal lines and the rich-in-sonorous-resonance piano keys, the entire single is underpinned by beguile, class, and perhaps most importantly, authenticity.
The consoling proclivities of the melodies have a cradling effect when the piece of sonic poetry is in motion; as you contemplate bigger phenomena than yourself, you will find yourself solaced by the score that unravels as the epitome of empowering purity.
Hera’s Song will hit the airwaves on August 9th; stream it on Spotify and Bandcamp.
Coming to you live from Cocoon Studios, Tabitha Booth set a baroque score in her evocatively artful cover of Queensrÿche’s hit 90s song, Silent Lucidity. The chamber strings carve through the indie artist’s neo-classic class, which effortlessly resonates through her Tori Amos-ESQUE vocal lines and the tension-fraught arrangements that stands as a testament to her ability to weave an intricate and picturesque narrative.
Amanda Palmer may be the ‘Girl Anachronism’, but Tabitha Booth established herself as the formidable queen of orchestral indie after unveiling the disquiet alchemy in Silent Lucidity. We are stoked to see her back on the airwaves after the reprieve that followed her 2020 single, Curiosity. Here’s to hoping that there’s plenty more poignantly pensive alchemy lingering in the pipeline.
The live recording of Silent Lucidity is now available to stream on Spotify.
LA singer-songwriter and classically trained pianist Erika Levy closed 2022 with the release of her elevated alt-indie single, Chicken and Rice, which captures the desolation of the world in the absence of anchoring connection. Haunting and affirming in equal measure, your soul won’t know what’s hit it once you delve into the monochromatic sorrow flowing through her filmic vocals that establish her as a 21st-century chanteuse.
“I’ll get higher once I hit the ground, just takes a little bit to find me, Hey lonely, come buy me another round” is a lesson in heart-breaking lyricism; projected with such grace and finesse, the vulnerability is flooring. In place of pity, you’ll find appreciation for the strength she amassed to lyrically blur the line between grief and joy.
Any fans of Tori Amos, Amanda Palmer, Kate Bush and Fiona Apple will be disarmed by the sheer originality of Levy with the baroque nature of her descending piano melodies that become the off-kilter centre of her 70s folk-pop sonic world.
Chicken and Rice is now available to stream on Spotify.
Built on a slow, meandering pop pulse and sitting somewhere between an old soul record and a trippy, down tempo urban groove, Because I is a wonderfully intriguing song. It is non-conformist and complicated, textured yet leaving space to generate atmosphere and anticipation, it is glitchy, mercurial, full of pent up energy and more than anything it is brilliantly different.
Not quite addictive enough to be pop, not fast enough to be a dance record it creates its own genre, one which skirts trip-hop, tips its hat to the likes of Kate Bush or Tori Amos but which ultimately is so different that it fits into a genre all of its own. There are not many acts that you can say that about but the enigmatic Scere is certainly one of them.
Annika Brown’s Latest track Apocalypso is a theatrical spectacular. Nothing quite could prepare me for what was about to unfold over the next three minutes as I hit play on YouTube. It’s hard to pay attention to the actual sound of the track after watching the official music video in which she embraces Kate Bush style dramatics. I certainly won’t be forgetting what I’ve just heard in a long time.
Annika’s sound Is definitely an acquired taste, I’m not sure tracks such as Apocalypso will ever fair well in the mainstream, however she’s created an eclectic mix of sound which she imparts her Emily The Strange demeanour within. Even when she’s playing an acoustic guitar in the woods her unique charm is never dampened. . But that’s just part of it’s charm. Alternative music fans are in for a treat with this act. With operatic vocals, doom riddled melodies and classic piano backing track. There’s a hint of Victorian hysteria within her music, which she reincarnates through her Gothic Soprano vocals. The Same as can be heard with acts such as a Emilie Autumn and her signature Fantasy Rock styling.
Head on over to her website where you can keep up date with her musical ventures. Her latest album The Devils Story Book featuring Apocalypso is available to download or stream now!
Heather & Snow might be the most intriguing electronic sound I have heard in a long time. I am not sure what I expected exactly, but “Down Down Deep,” is nothing like I anticipated. While it does have all the ingredients of an electro track; the keyboards, synths, plucked guitars, bass tones, and rattling metallic percussion, syncopated chords and even some gnarly digital slap bass it also has amazing vocals.
Not just typical singing over a track, there’s actually some awesome harmonic melody. The lead singer’s voice is hypnotic and trance like, and the background vocals match perfectly creating such a genuine sound. The vocalist shine in both tone and pitch, the reverb is not over done and the production quality is great. This group is a celebration of electronic sounds at it’s finest and I love it.
45th St Brass is an eclectic music ensemble with a passion for making music that feels extremely sophisticated and avant-garde, yet very catchy and appealing.
Their recent release, Sea In The Sky, is a perfect example of their creative vision. The song embodies elements from genres as diverse as jazz, funk, fusion and even pop, going for a broad and appealing tone. The brass sections are incredibly eclectic, going from funky grooves to lush and atmospheric textures, which blends seamlessly with the stunning atmospheres.
Musically, this project makes me think of artists as diverse as Bjork, Kimbra or Tori Amos, but with stronger jazz influences. I really enjoy the broad-ranging tone of this track and the tasteful arrangement, which truly helps the song come to life in a stunning way.
Abigail is a singer and songwriter with a distinctive voice and a very special production approach.
Her new single release is mellow, yet somewhat dark and haunting, echoing the work of artists like Portishead or Tori Amos, but with more energy. The beat has an amazing impact and a unique punch, while the beautiful layers of vocals really allow the song to stand out and reach an amazing depth.
The song opens up with a really great chorus, where Abigail managed to unleash an insane vocal hooks, rising the volume and intensity of her singing, only to take it softer again in the verses. The wide range of this singer’s voice is amazing: in the verses, she can create a smooth, warm tone, while in the courses, she manages to cut through the mix seamlessly, with control and grit, while remaining melodic and appealing. The bridge is also memorable, with a sparse beat and some cool vocals on the forefront.
This song is a true cocktail of pop and electronica, but with the energy of rock.
When we think of romantic pop music of substance, even in the more commercial world, we generally think of the high-concept and artistic direction of Kate Bush and Tori Amos or the high volume commerciality of kitsch dinosaurs such as Elton John or Billy Joel (though The Stranger is an album that should be studied in music colleges the length and breadth of the country.) Well, with I Wish You Well, Chamik Zhang finds a middle way that combines integrity with appeal.
Chamik Zhang makes short work of blending Damien Rice minimalism with just the right amount of commercial melodicism. Heartstrings will be tugged, emotions unleashed, young women will swoon and the world will feel just that little bit more poetic. And when did the world ever not benefit from such happenings?