Get Me Free #62: ultaviolet - Hearts In The Sand

Article by KevW

That great musical hub of Austin, Texas has long been known for garage, alt-rock and psychedelia, but ultraviolet, a duo comprising of Caitlin Craighead and James Grantham, have taken it upon themselves to forge some southern-tinged dreampop and shoegaze. So often lately, the two genres have been inseparable, and tracks like 'Fool's Gold' from their self-titled debut EP showcase this perfectly, whilst also taking the time to include some desert-rock and a nod to Mazzy Star. There are many good tracks on the EP, not least the driving, discordant 'Strawberry Echoes', so investigating the lot is well worth your time.

It may be down to personal taste (and surreal feeling last track 'Cold Coast' runs it close), but best of all is perhaps the chiming 'Hearts In The Sand'. The reverberating guitar is soon joined by a propulsive beat, some swoonsome vocals and given a hazy sheen. Melodically it's the strongest song here, and this is reflected in the music as the breaks give extra emotion to a voice that already sings like every word matters. There are a lot of bands making similar sounds right now, but the Texan twang found here gives ultraviolet a little something more distinctive. It'll be worth watching this space and seeing what else they come up with, but this is a great way to kick things off.



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Under Electric Light - Never Lose Another Day EP

Article by KevW

Wow. How on earth have Under Electric Light avoided our attention for so long? Brief history: Under Electric Light seems to be essentially a solo project masterminded by musician and producer Danny Provencher with lyrics, on this EP at least, courtesy of the mysterious Meb. They're based in Montreal and appear to have been releasing records for at least a decade. Latest EP, 'Never Lose Another Day', is, to put it bluntly, quite amazing. You'd guess, as it gives its name to the entire release, that the Slowdive-esque 'Never Lose Another Day' was the highlight out of these four tracks. It is deliciously woozy and sounds like classic (as in real classic) shoegaze, and if you heard no more you'd still find this one of the songs of the year if that kind of thing is your bag. But there's more.

The more electronic 'All Night' sounds like it was recorded as part of the 'Screamadelica' sessions with a different vocalist, and also brings to mind New Order after a night on the Valium. It's a nice contrast and equally as good, gently building as it bounces along on a chilled, early '90s beat. 'Runaway Sun' is the enchanted, soporific, pastel-shaded closer that is the very definition of dreampop and it's quite Utopian and blissful. However, as good (and they really are) as these tunes are, the showstopper is opening track 'Pieces Of Me', surely a contender for shoegaze song of the year. If you've ever followed the likes of Chapterhouse, Ride, Slowdive, Cocteau Twins or other similar acts of that era, then this will be right up your street. In fact, it may as well have parked its car right outside your door, let itself in and climbed inside your ears. Magical.





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Psychic Lines - Color The Picture

Article by KevW

Although "trapped" in Brooklyn, Philip Jacob Glauberzon hails from Kentucky and has been making music for quite some time. Currently working under the guise of Psychic Lines (the first album of this project was two years ago, but apparently a follow-up is in the pipeline), he's found a guitar-heavy sound that on new single 'Color The Picture' is a bit like a checklist of ace bands and genres stretching back over several decades. Despite this, the pieces collectively weld together to form a really quite decent tune.

Starting out with a riff that could be from a '60s garage band and is more than a little reminiscent of The Velvet Underground, the lack of a beat is actually a bonus, conjuring up a neat atmosphere. There are touches of Black Rebel Motorcycle Club to be found, and a guitar solo that's shoegaze at one point but later in the song it has a echoes of early John Squire. It's as much about melody as it is sound, and there's a great pop tune beneath the barbed-wire guitar. An album of these would be a welcome addition to any alternative music fan's collection.



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Get Me Free #61: The Bordellos - Prime Minister! Remove Your Pork Sword From The Dead Pig's Mouth!

Article by KevW

There's no denying it's been one of the most talked about news stories of the week. Or it was at least. Perhaps through fear that the "allegations" that the Prime Minister stuck his... um... member (not a cabinet MP, you know what we mean by "member") inside the mouth of a dead pig were actually someone telling porkies (sorry) put the mainstream media off reacting in quite the same way the public did. Perhaps it was all the talk of snouts gave rise to the claims of cocaine being snorted at his house... who knows? Well, Dave himself does of course, and if this is all true then he'll prove to be a very sick man. And without going too Morrissey on you, as a weirdo vegetarian, animal rights kind of person, how exactly was a pig's head acquired in the first place?

These may just be allegations, but the lack of a denial from big Dave and his gang of toffs is notable. As is the speed in which The Bordellos (who else?!) managed to write, record and upload a song dedicated to this sordid act - all done and dusted in less than two hours. Notoriously lo-fi, especially of late, it's perhaps unsurprising that 'Prime Minister! Remove Your Pork Sword From The Dead Pig's Mouth!' doesn't bring in horn sections and gospel choirs. While it's tempting to cram as many porcine-based jokes into this review as possible, there's not really any need since the best one of all is probably taken in the song's title and a few others in its lyrics. This may be scratchy and D.I.Y. by its very nature, but, much like the image you got when you first heard about "hashtag piggate", once you've listened to this song once, it'll be stuck in your head for ages.



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Spectres - Spectre

Article by KevW

Sam Smith said it only took him twenty minutes to write the official theme for the new James Bond film 'Spectre', and this morning it was unveiled to the nation. Well, it probably wasn't wearing a veil, but you know what I mean. The reaction of the people? Well Sir Roger Moore likes it, but the general consensus is that it's mediocre at best, sounding either "a bit like 'Earth Song'" or "a bit like an X-Factor ballad". Low praise indeed. Of course it has strings and all that jazz: it's a Bond theme after all, you've got to keep up appearances. But what of noise-rock group Spectres' alternative theme? I guess that given their chosen name, the chance was too good to miss...

It would be easy to cobble together a tune that's an unlistenable load of feedback and distortion to all but a few niche fans. Kind of the opposite of all those "ironic" punk covers of ballads that we've had down the years. Spectres are better than that though; for 'Spectre' they enlisted vocalist Ela Orleans to sing the track as a duet, and while the opening may consist of some scuzzy guitar chords, the rest of the song sounds like... well, it sounds like a perfect modern example of a Bond theme. The haunted, cinematic quality that, historically, has been almost ever-present, remains so. There's drama and suspense, there are strings and understated grandeur. Had this really been the official choice, it wouldn't be heavily criticised for being too left-field. In fact, it's easy to see this being heralded as a slightly edgier take on those classic themes of the past to go with what should be an edgier and more modern take on the franchise itself. Yes, Smith is a bigger star, and the bigger star will always be the chosen one, but, and without the merest hint of irony, Spectres have proved themselves more than capable of doing the job themselves.



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Telekinesis - Ad Infinitum

Article by KevW

There's a bit around fifty seconds into 'Sylvia' where a childlike cry of "wa-wooooow!" chimes in amongst the motorik beat and persistent, monotonous (but great) bassline, and in those couple of seconds, Telekinesis' new album 'Ad Infinitum' is summed up perfectly. The song goes on to add soaring, cosmic electronics and a myriad of wondrous sounds until it becomes one of the most blissful, driving pieces of dreampop you're ever likely to hear. You'd be forgiven for thinking the Seattle group had played their trump card too soon, but while it does send everything totally skyward after the more pensive and downbeat opening track 'Falling (In Dreams)', which itself is a wonderful song with flashes of the same magic, it's more a benchmark for what's to come, rather than any kind of high point.

This is an album overflowing with electro/pop/krautrock/dreampop wonderment, and if you can find a low point then you need you ears testing. 'In A Future World' is a bit like what would happen if Grandaddy covered The Postal Service and then had the results remixed by French experimentalists Yeti Lane. This then slams straight into the rampant 'Courtesy Phone' and you realise that suddenly The Go! Team have a battle on their hands for the most euphoric and stupendously good alternative pop album of the year. It's not always necessary to talk about every song on a record when reviewing it, and the same goes for essentially running through them in order, but 'Ad Infinitum' feels like you've strapped yourself in for a journey through sound, and every stop of the way is special enough to warrant a few words of its own. That magical period between being awake and asleep can make troubles disappear and everything feel warm and snuggly, and that's exactly the effect that 'Sleeping In' does, but the clattering beat and plinky keys of 'Edgewood' wake you up fully, although the world you enter is more sugar-coated than the real one, as some sharp guitar caves in to a break of sighs before everything clicks back into gear in a bigger and better way.

Just when you think the multitude of textures risk becoming too much on the slightly brash first section of 'It's Not Yr Fault', space opens up and melody is pulled forth, securing everything in place even though it remains hectic. The contrast in mood to the more thoughtful 'Farmer's Road' is noticeable, but somehow even this feels upbeat despite lines like "you let it get you, you let it tear your heart away". The music doesn't mask the change in mood, rather it makes it fit and even enhances it. The album bows out with 'Ad Infinitum Pt. 1' and 'Ad Infinitum Pt. 2'. The first part is a simply gorgeous, drifting instrumental that's cinematic and dreamy, yet it's the second part that really puts the icing on cake. Slower than most songs here, the booming electronic beat and the piano create an impressive atmosphere, but when the yearning, echoing vocals kick in we're whisked off to somewhere altogether more fantastical and it's reminiscent of The Flaming Lips at their most glorious. Telekinesis have really hit the mark with 'Ad Infinitum', and the result is arguably the best album of its kind that you'll hear this year.





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PREMIERE: The Heart Strings - Bright Lights

Article by KevW

Ah, The Heart Strings. Has it really been seven years since debut album 'Try Fly Blue Sky'? Songwriter Todd Roache and his accomplices have been fine purveyors of beautifully-crafted guitar-pop songs for a while now, but their shine never becomes tarnished, and after a couple of albums of sparkling, heartfelt indie, the well seems far from running dry just yet. 'Bright Lights' is the second in a string of singles planned for the next year or so. It follows on from August's 'Beautiful Abyss', and is like that shot of vitamin D your body probably needs.

The nights may be longer than the days and the leaves may be starting to disappear from the trees, but if you're feeling an autumnal chill in the air, then this is the perfect remedy. With a tender glimmer, 'Bright Lights' is packed with plenty of the same pretty melodies we've come to expect, and when it breaks and the pace drops this is only enhanced. Electronic beats accompany the indiepop instrumentation and both voice and production are as pure as ever. You can even detect elements of early Passion Pit's euphoric sound in places, despite lyrics about blaming yourself for being lonely. Musically though, this is an Indian summer in aural form. Smiles are guaranteed.



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Bare Traps - Inside

Article by KevW

The debut single from London experimental indie-pop group Bare Traps proved pretty popular when we featured it on our August playlist, and drew comparisons to other crossover acts such as Two Door Cinema Club and Foals. With follow-up 'Inside', the group prove it was no one-off. A little less jittery, we'd go as far as to say the second single surpasses the first, as it gets its funk on and takes them away from just being another slightly mathy, electronic indie band. This one's full of ideas and takes from a wide variety of sources, crafting a sound that feels more individual than the sum of its parts.

If you want more comparisons as an idea then you could talk about people such as The Rapture or even Talking Heads (albeit with a totally different vocal). 'Inside' sounds thoroughly modern throughout, and this is despite the fact that it's got new-wave-meets-electro-pop written all over it. If we get ahead of ourselves and assume that Bare Traps have several more of these in their locker, then bigger success is surely a question of when, not if. Confident, note-perfect, genre-straddling and instantly likable with an inventive streak. What's not to like?



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Get Me Free #60: The Inverted - I Don't Know

Article by KevW

When Florida's The Inverted released their debut album 'Thorns' last year it didn't really get the attention it deserved. Now that the young trio (they range in age from 18 to 20) are pushing forward with more of a promotional campaign, they could well find themselves getting that coverage. Citing a wide range of influences which is reflected in the music they make, songs range from the radio-friendly, more commercial single 'Eyes Closed' to tracks that are come with a more indie-rock sound. So when they say they like Silversun Pickups and Arctic Monkeys as well as pop-rock such as The Killers and U2 they really mean it.

Being a more alternative site, it's generally the less mainstream tunes that edge it for us, although you can't deny that the rest of their output has the potential to strike big. 'I Don't Know' comes across as a particular favourite. Lengthier (but good enough that it doesn't seem to drag at all) and perhaps more dynamic, especially in the chorus which sees the drums pick up the pace, and also with a great guitar solo, The Inverted are happy to drop the tempo too, adding a more powerful atmosphere than many of the songs on the album. This is reflected in the disenchanted lyrics that accompany it. The Inverted might just be a break away from coming to a radio station near you soon.



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KURBd - Stitches & Burns EP

Article by KevW

Much like debut EP 'The Cause... The Defect', KURBd's new offering 'Stitches & Burns' follows their preferred working method of recording songs live and then spending a few days mixing and mastering them. I say "preferred", and that's true, as the trio aren't fans of over-production, but they do admit that this approach is also far more cost-effective than hiring studios and producers and so on. Naturally, this will mean that the music they make has a lo-fi quality, but the style they adopt works well this way - in fact, if you look at similar groups who've become too polished, the end result hasn't been as good. In terms of style, 'Stitches & Burns' still sees grunge as the main influence, but finding an exact copy the pantheon of the genre (Nirvana, Pearl Jam, Mudhoney etc.) isn't easy, yet that's not to say these four songs scream originality, but they don't need or try to.

The title-track crunches into view before a crack as the drums kick in and the guitars open up with a fiery effect, and the lyrics breathe a similar fury at times. They shift the dynamic with tempo changes, harmonies and a wall of noise that pops up during the verses, not to mention some throat-shredding screams and a weighty guitar solo. 'Plastic' is heavier, verging on sludge metal, but it swings itself back into something lighter and more tuneful without losing any force along the way. Here the harmonies work really well when they're allowed a few seconds in the spotlight, but its a menacing beast overall. Light (although not too much of it) is never far away from the shade, and 'Stories (Always)' sums this up quite well, again bringing in those harmonies, a quiet introduction and some nice melodies, but then slamming into you with a chorus that's like a punch in the face. It could be argued that '86-88' is the standout on the EP, stretching out all the ingredients that make KURBd what they are to almost eight minutes. Guitars stutter and grind and fuzz, tempo changes are present and correct, those harmonies are here again, and it manages to not get boring even at such a long duration. You always want to see good bands do well, but these guys work best without the glitz and glamour that major deals and expensive production can offer. Who needs proper studios anyway?







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Elliot Moss - Highspeeds

Article by KevW

Released earlier this year in his native U.S., 'Highspeeds', the debut album from Elliot Moss, hits the UK this weekend, and even if you've heard certain songs already, they probably won't give you much of an idea about the rest of the tracks the New Yorker has composed. The way this record flits between styles without sounding forced or ham-fisted in any way is quite something. Take first single 'Slip'. This has a modern soul feeling which is mixed with skeletal electronic beats and a mid-tempo pace that allows his impressive voice plenty of space. 'Slip' is slick, it's alt-pop that doesn't want to be too pop, even bringing in jazzy horns to enhance the multi-layered soundscape he sings to.

Contrast that to the pretty, bare and acoustic 'Even Great Things' which, despite being the slowest, sparsest and most tender song here, still feels like a centrepiece. This is a sad, almost lullaby-like number that begins with just voice and guitar, only adding a little more instrumentation towards the end as Moss croons "it's always hard to say goodbye, but even great things die sometimes". He knows how to pack in emotion without bringing an orchestra in for extra augmentation; none is needed. The often stark changes on the album are then highlighted, as that quiet and downbeat tune is followed by the jittery, electronic, experimental pop of 'I Can't Swim' which is almost danceable as well as having an indie/rock crossover thanks to some gritty guitar lurking in the background.

Changes like this are evident right from the start, as the title-track also takes an acoustic approach and flirts with dreampop and orchestral sounds thanks to its subtle arrangements, emotion-filled vocals and multitude of musical textures. This is almost a modern update of 'He's Simple, He's Dumb, 'He's The Pilot' by Grandaddy. 'Highspeeds' is all about experimenting with sound. 'The Big Bad Wolf' is that trip-hoppy dance track at times, but at other times it takes from latter-day Radiohead's glitches. 'Into The Icebox [Binaural]' isn't perhaps the hypnotic, binaural-beat based soundscape you're imagining, in fact it uses distant musichall-style piano and eerie samples. We even come close to dub on 'Plastic II', but with a very graceful sweep. 'Highspeeds' is an album that throws up a surprise around every corner but still works as a solid body of work, and this is exemplified by closer 'Best Light' where everything seems to come together and loose ends are tied up. You can't deny that Elliot Moss is a man with a sackful of ideas, and, thankfully, he's not afraid to use them.







Elliot Moss' website

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Catch him live:

29 Sept: London, The Lexington, [PIAS] Nites





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The Suburban Homes - Conformity In The U​.​K b​/​w Television Spies

Article by KevW

You can trace the roots of punk back a long way, and that's usually down to sound alone. Sure, there were proto-punk acts tackling the various issues of the day, but the same happened with other genres. It wasn't until the initial wave of UK punk bands and those that followed in their wake that the genre became synonymous with social unrest, a lack of hope for young people and the shambles of our political system. Naturally, the most obvious examples are The Clash and The Sex Pistols, but there were far more who never achieved their level of success. West Sussex group The Suburban Homes are essentially torchbearers for that movement, and while they may not be the only band with something to say, they make it seem sharp and angry again.

It's likely that the title of 'Conformity In The UK' was inspired by the Pistols' 'Anarchy...', although this isn't what they're asking for, rather what they're observing happen: "conformity in the UK, it'll never be OK". If you're still questioning their position, then lines like "it's apparently a great time to be alive, but I can't afford to live in a house, I can't find a job to save my life" should clear matters up. All this is done to a simple riff that has a '60s garage feel along with the sparseness of early Violent Femmes. On the flip is 'Television Spies', which again has '60s undertones to go with its angry, blunt vocal which talks about the constant surveillance that our governments subject us to. If, for some reason they need to, they'll be able to find out that you've read this article in an instant, along with where you were at the time and the device you pulled it up on. Is this a great time to be alive, or are we more vulnerable than ever? The Suburban Homes have their opinions, and it's difficult to argue.

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Get Me Free #59: Yonatan Gat & Gal Lazer - 0

Article by KevW

How many different genres do you want on one recording? Rock, post-rock, jazz, blues, psychedelia, surf, garage, prog... listen to '0' from Yonatan Gat & Gal Lazer's new single 'Physical Copy' (it is actually available on vinyl as well as free download for those of you who prefer non-digital) and you'll get those and probaby uncover a whole lot more while you're at it. Gat has long been admired as an innovative, boundary-pushing guitarist, so teaming up with a drummer who seems to have similar notions of what can be done with sound was a great move.

Although the concept began in Brooklyn, it came to fruition during a recording session with Steve Albini in Chicago, so that's another experimental and ambitious musical mind to add to the mix. '0' chops and changes a fair amount and could probably simply be tagged as "psychedelia", which is often just a short-cut for describing music that doesn't fit. This certainly - and proudly - doesn't fit, and that's what makes it such an intriguing and enjoyable listen. You can also download the even weirder B-side '1' with its backwards effects for free, so that's two inventive and unique pieces of music that embrace new ideas and break from convention, but do so without becoming too obtuse or awkward. Bonus.



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Get Me Free #58: Parastatic - Saint Mary

Article by KevW

It's probably best to just cut to the chase: if you haven't heard Parastatic yet then you need to rectify that as soon as possible. So it's quite handy that their new video is posted below. The Newcastle group released their album 'Lost Highway' in 2012 and it was an absolute must for our end of year albums list. Follow-up 'Recall Fade Return' arrived earlier on this year and built on the format of the first record, resulting in a collection of tracks that was probably even better. For what is essentially a blend of krautrock, shoegaze and electronica, the trio still manage to innovate and have their own sound.

As starting points for the band go, new single 'Saint Mary' is an easy choice, serving as one of their most accessible songs so far. An album highlight, its space-rock nuances and catchy melody bring to mind Bailter Space at their finest, and you could even put this particular number in a similar bracket to the tunes that saw The Horrors transform from a novelty garage band into critical and public darlings. The same influences that went into their form of psychedelia are on display here, and really, Parastatic deserve the same amount of success. Give the single a spin, but if you haven't already done so, then buy the albums too - you won't be let down.

Parastatic's website

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Catch them live:

Saturday 7th November – Globe Gallery, Newcastle upon Tyne
Thursday 12th November – Sebright Arms, London





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Get Me Free #57: CIRC - Fistful Of Light

Article by KevW

A couple of years ago you couldn't move without tripping over a bedroom producer. Perhaps it's just us, but there don't seem to be quite as many doing the rounds at the moment. If that's the case, then it's likely a shift in musical trends; the whole chillwave movement was based upon music made that way, and as that's died out, those acts have either moved on to different sounds, joined forces with other people thanks to their exposure and are now working on different projects as a "band", or, simply, the time has passed and the exposure for such artists is no longer there. What is certain, is that an awful lot of names have come and gone, but a few have stayed the course, and this must be a testament to their quality.

French producer François Rousseau, AKA CIRC, is one such musician. He's been making experimental, chilled, ambient electronica for some time now, and new single 'Fistful Of Light' still hits all the right marks. Featuring vocals from hanelaure (or Anne-Laure Rousseau to give her real name), the slow and soothing 'Fistful Of Light' does what so many ambient electronic tracks fail to do, and that's to be of interest to folks who don't necessarily follow the genre as a rule. Maybe it's the chopped up vocal, or perhaps its the edginess of the piercing electronic stabs. The warm analogue vibe certainly doesn't do the track any harm, and managing to balance an atmospheric feeling with enough points of interest to keep you engaged isn't always easy. So maybe it's this skill that's seen CIRC outlast many of his contemporaries.



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[The Blaye] - Scarecrows

Article by KevW

It can be difficult to assess what counts as "modern" anymore, especially in the music world. There will always be artists recreating the sounds of the past, and there will always be those attempting to do something brand new. The turn of the millennium saw a period where experimentation really took hold to the point where certain records were getting into the charts that would never do so now. It also marked a point whereby a slowing down of this evolution could be felt. It was almost as if everything that could be done, had been. Genres such as dubstep may have just been starting out and would eventually get absorbed into popular music, but most records that have since claimed to be "experimental" are not great leaps forwards, although that's not to say they're not unique and have their own sound to a certain extent.

The latest solo project of Watford-based musician Albert Hartley, [The Blaye], doesn't claim to be experimental, but many would see debut album 'Scarecrows' that way. Sure, you can throw in many comparisons and note that the different styles used (punk, electro-rock, drum and bass, electronica, post-rock...) aren't new themselves, but this intense musical stew definitely offers an individual take on them. The intense, menacing and urgent '[4]' (each song simply has a number rather than a title) perhaps exemplifies this best, as hectic beats combine with dark guitar flourishes. As Hartley has previously been a member of a punk band and released his own electronic music this blueprint is an ideal combination of his skills.

For what is a largely instrumental album (Joseph Perry contributes vocals to the post-rock/drum and bass collision that is '[3']) that follows a similar pattern on many of its tracks, there's a surprising amount of variation. Opening with chiming guitars, '[1]' soon throws in a scatter-bomb of electronic beats before switching to a skyscraping but simple guitar solo. '[6]' could almost be a funk number, but the crash as the rest of the instrumentation joins the intro takes it somewhere else, before an all-consuming clang makes it all even bigger. Much of 'Scarecrows' plays on these different textures and makes for an album that you almost daren't take your eye of off for fear of what it might do next, which naturally is quite compelling. Final track '[8]' sums this up in perhaps the best way, once more opening with chiming guitar but building and building into quite a melee that oozes power but never feels too oppressive. Whether you want to tag [The Blaye] as experimental or not, you can't deny that the determination to hit heights has paid off.







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High Pines - You're The Only One Who Understands Me

Article by KevW

You see how the artwork to this new single from New York's High Pines is really quite foggy and a bit mysterious? Well, it also looks somewhat autumnal. Keep the fog, switch it back a season to summer, and it's a shot that captures the essence of the song very well. We have to go right back to 2012 to find the first time we featured the group formed by Caribbean-born Leo Lugo, and at that point, lo-fi psych wasn't something that was in short supply. Times may have changed, but that fact hasn't. In fact, the psych scene has, if anything, only grown in its variety and popularity, so you really have to do something a bit different to stand out.

'You're The Only One Who Understands Me' does just that. It won't start a new scene of its own or blow people's minds by inventing a whole new genre, but the mixture of influences that are stirred into the melting pot do give it individuality, and in turn, this adds to its appeal. Yes it's hazy and inhabits a strange twilight zone between being awake and asleep, but it also throws in a dual blast of guitar; one bringing the distortion, and the other giving brighter, lighter picked notes that counteract that fuzz. Perhaps it's the Caribbean origins, but there's an exotic flavour here as well which really does offer an alternative that many others don't. It's all looking rather good for new album which is due to drop in November.



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The Wrong Society - She Destroyed Me b​/​w Without You

Article by KevW

Hamburg cemented its place in pop music history many years ago thanks to some group of young upstarts called The Beatles sweating it out in the rammed clubs of the city's seedier areas, but, of course, there's much more to find out about the place musically. For starters, classical and opera have long had a stronghold there, and the city has also given rise to its fair share of metal heavyweights (Helloween, KMFDM) as well as having a thriving punk scene. There's much more too, but when talking about The Wrong Society then it's perhaps best to focus on the '60s beat groups that learnt their trade in Hamburg, as well as its current punk movement.

New single 'She Destroyed Me' has a heavy '60s influence both in structure and in sound - especially those flashes of organ which take it away from any early Beatles comparisons and more into 'Nuggets' territory. A catchy song with a punky edge to it, this could have sat somewhere in the middle of that decade and nestled in comfortably alongside other guitar groups of the time. B-side 'Without You' drops that hint of aggression and changes to something a little more lovelorn and melodic, but still based on music of the same era and still utilising that organ sound. The buzzing guitar removes it slightly, offering something a touch more modern, and this is to its credit as it shows that, while clearly wanting to make records that could be from a specific time, The Wrong Society also allow themselves the freedom to add their own hallmarks.



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Get Me Free #56: Dead Heart Bloom - Gather Up

Article by KevW

Past releases from New York's Dead Heart Bloom have been closer to dreamy shoegaze than anything else, such as last year's 'So It Goes' EP. It's a little surprising to hear new single, 'Gather Up', as it takes a different approach and shows another side to the band. Vague and cliched words such as "ambient", "ethereal" and so on don't quite fit anymore, although they haven't totally foregone that aspect of their music, as shown by the brief break halfway through the song, although it's only fleeting.

Instead, 'Gather Up' takes some of the psychedelia they've been known to employ in the past and plonks a great big glam rock stomp on top of it. With fuzzed-out guitars giving a spiraling riff, the beat soon kicks in properly and isn't too far removed from certain Black Rebel Motorcycle Club songs (think 'Spread Your Love'), or even less well known acts such as The Mooney Suzuki, but perhaps not quite as full-on. Guitars come in many different colours which all add to the variety and keep you engaged, especially the frazzled, wavering ending which is like a cosmic burst. It sounds as though Dead Heart Bloom aren't too keen to be pigeonholed, and they have the quality not to be.



Dead Heart Bloom's website





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Paul Messis - The Blind Leading The Blind b​/​w As Time Rolls By

Article by KevW

Those of you who've followed the site for some time will likely be aware of Paul Messis, a singer-songwriter with a penchant for recreating the sounds of '60s psych and garage. Musically, his output hasn't exactly been current, but 'The Blind Leading The Blind' is a politically charged song that comes just as the UK's political scene is changing drastically (Scotland has all but kicked out any parties other than the SNP, the right wing, especially UKIP, has been gaining unprecedented ground, and we now have a left-wing political activist as leader of the opposition). No matter what year we're in, there are always statements to be made, and the 1960s became synonymous with protest songs.

It's fitting then, that this slightly punkier affair (we're at the rougher end of garage here) talks about the chattering classes telling you how to live your life while they have more money than ever before and you're struggling to make a living. Musically and lyrically, it may not be new, but it hits the spot. Less upfront and more melodic is 'As Time Rolls By' which is vintage jangle-pop meeting '80s indiepop that has a drive and energy that belies the downbeat, lovelorn lyrical content. With that guitar sound, it's difficult not to think of Roger McGuinn, but that's a compliment rather than a criticism. Ever prolific and always sticking to his guns, Messis has given us another set of retro guitar tunes to thoroughly enjoy.



Paul Messis' website

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The Optic Nerve - Penelope Tuesday

Article by KevW

As with just about anything released on State Records, a label that almost inclusively sticks to the sound of '60s beat groups, putting a date stamp on any of their records can be a stab in the dark. With New York group The Optic Nerve that becomes even more difficult. Originally a part of the '80s garage scene in the city, the only thing they really had in common with their contemporaries was a dislike of the synthesized pop that surrounded them. Their sound was closer to the jangle-pop of bands such as The Byrds. Maybe they'd have fitted in better with the Glasgow scene that was taking shape at the same time. As it was, they only released a brace of singles at the time, with two compilations of demos and other recordings surfacing in the early '90s.

Their determination to adhere to their musical principles can be found on new single 'Penelope Tuesday' and its B-side 'Here To Stay'. What's interesting to note is that neither of these are new recordings, rather they're two tracks that were recorded for an aborted album with a slightly different line-up a decade ago. If this is a taste of what might have been, then we can hope that more from those sessions surface at some point. 'Penelope Tuesday' is a rampant, sunshine-fuelled piece of mid-'60s-style guitar-pop with just enough grit and some sweet harmonies; it's verging on powerpop and is a definite earworm. A little slower and perhaps more folky is 'Here To Stay' which could be from the same era and once again allows those guitars to shine, but this time with softer, dreamier harmonies. The career of The Optic Nerve has been a fractured one, but if they can produce material of this quality then another reunion would be well worth their time.



The Optic Nerve's website

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The British IBM - Psychopaths Dream in Black and White

Article by KevW

In the lead-up to the release of the second album by Cambridge band The British IBM, we suggested that a group as good as this should perhaps be shouted about a little more than they have been. So, with that album, 'Psychopaths Dream in Back and White', out for all to hear, is their status likely to be raised? If it is then the difference will, sadly, be negligible (although we hope we're wrong). This isn't because they haven't delivered, this is a quite beautiful album, but it could be that their pristine take on guitar-pop isn't cutting-edge enough for certain factions of the music press, and maybe they're not clean-cut enough for others.

Yes, 'Tread Carefully' and the jaunty 'Hey Mickie' are fairly middle-of-the-road when it comes to indie music, but they're excellently crafted. Other songs such as 'All The Time' and the orchestral 'Just Get By' will have a better shot at turning heads, but with such a saturated market it can be difficult to shout loud enough. 'Nothing Ever Lasts That Long' is classic retro pop, and it's followed by the more experimental 'Evolution'. Finding any filler at all on this record is something of a challenge with perfect indiepop such as 'Silver Cigarette Case' popping up throughout. It's rock-solid in terms of quality, and makes you want to grab the music industry and shake them until they listen.

Music history is awash with great bands who never quite made it, despite the fact that they clearly should have done, and it would be a shame if The British IBM became another of those, because 'Psychopaths Dream in Black and White' deserves better than it's likely to get. It only takes one person in the right place to pick up this record and give it the platform it warrants, or perhaps a breakout hit could do the same job. There are a few contenders here, and you'd have to say that 'We Were The Stars' is a song that many groups would dream of writing. Whether this becomes a hidden gem or makes that breakthrough might not be known for a while. The British IBM may not be a household name just yet, but they haven't half made a cracking album here.







The British IBM's website

Stream or buy the album





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Get Me Free #55: Kurt von Stetten - Spanish Ship

Article by KevW

For some bands the very notion of releasing ten albums in as many years is impossible to conceive, but then most bands aren't Kurt von Stetten. If fact, the Boston-based musician doesn't even use a band for forthcoming LP 'Bon Fortuna'; he writes, plays and records everything himself, and that's no mean feat. Such working methods are often conducive to scratchy, lo-fi recordings that aren't always high on quality control. You could hardly call 'Bon Fortuna' stadium rock, but it's not your typical DIY indie either.

In fact, free taster 'Spanish Ship', one of the more "rock" tracks on the album, is produced in such a way that it sounds like a band playing, not a selection of instrumental parts laid over the top of each other. It packs a bit of a punch that should keep fans of slightly heavier music happy, as well as the indie crowd. Forget the fact that this is one man working alone and 'Spanish Ship' is still a powerful statement. It's bold, hard-hitting, well-crafted, and at well under three-minutes it doesn't outstay its welcome. Plus, it's not even the best track on the LP, which shows you just how good this guy is.



To download 'Spanish Ship' for free head here

Kurt von Stetten's website

Pre-order the album





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Get Me Free #54: YAST - Together Forever

Article by KevW

It's been a couple of years since we heard anything from Swedish band YAST, but this week they're back with a new album, 'My Dreams Did Finally Come True'. Their ascent was a steady one, forming back in 2007 but not releasing any material until 2012, but they've captured a few hearts since then. You can expect a certain amount of diversity on the new album, as various members of the band have writing credits, as well as there being three different lead singers. It is a cohesive album too though, building on their successful guitar-pop sound.

Recent single 'Together Forever' features, as does previous single 'When You're Around'. 'Together Forever' stays fairly true to the sound of Scandinavian indie that we feature so heavily, but pushes it forward to a bigger, more confident place. The spectre of the 1980s hangs over the song, particularly when it comes to the jangle of the guitar, and the dreampop melodies and harmonies add a softness and warmth. 'Together Forever' is topped off by a more ambitious instrumental ending that shows YAST aren't afraid to push the boat out when they want to. Top stuff.



YAST's website

Pre-order the album

Catch them live:

2015-09-14: Cafe Video - Ghent (BE)

2015-09-15: Incubate - Tilburg (NL)

2015-09-16: The Garage - London (UK)

2015-09-17: L’International - Paris (FR)

2015-09-19: Nürnberg pop festival - Nürnberg (DE)

 

2015-09-25: Studio Möllan - Malmö (S)

2015-10-02: Debaser Strand - Stockholm (S)

2015-10-10: Ideal Bar - VEGA (DK)

2015-10-24: Recession Festival - Aarhus (DK)

2015-10-30: Popkriget - Umeå (SE)

2015-10-31: Söders Källa - Gävle (SE)

2015-11-10: Astra Stube - Hamburg (DE)

2015-11-11: De Gudde Wellen - Luxemburg (LU)

2015-11-12: The Great Räng Teng Teng - Freiburg (DE)

2015-11-13: TBA - Köln (DE)

2015-11-14: Rosis @ KarreraKlub - Berlin (DE)

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Stanley Brinks and The Wave Pictures - Berlin

Article by KevW

Ever since Stanley Brinks was a member of cult French group Herman Dune (with whom he was known as André Herman Dune), The Wave Pictures have been close associates, featuring on session recordings and sharing stages. Since his departure in 2006, he's joined forces with the Leicestershire indie types for three albums, so much so that the names are now closely entwined. October will see the release of their fourth LP together, the delightfully titled 'My Ass', from which new single 'Berlin' is taken. Never short of a song or two, the new record took shape very quickly.

Brinks has experimented with different styles throughout his career, but is perhaps best known for indiepop that's catchy and often quite eclectic. 'Berlin' is no different, absorbing exotic sounds and mixing them with a neat slice of guitar-pop with a memorable, sing-along chorus featuring what sounds like the whole studio team. The warmth and talk of "last night's drinks" are something of a contrast to much music associated with the German city. B-side 'It's Complicated' has a similarly clear vocal and again uses many voices, but the pace slows to create a different atmosphere; perhaps one that's a little more thoughtful and maudlin. These are two fine tracks though, so long may this partnership continue.





Stanley Brinks and The Wave Pictures' website

Buy the single

Catch them live:

Stanley Brinks solo:

Wed Sep 30th: LONDON - All You Read Is Love, Leytonstone

Tour dates with The Wave Pictures and Freschard:

Fri Oct 2nd : CARDIFF - Full Moon

Sat Oct 3rd : PRESTON - Blitz Club

Sun Oct 4th : EDINBURGH - Teviot Underground

Mon Oct 5th : GLASGOW - Broadcast

Tue Oct 6th : BIRMINGHAM - Hare and Hounds

Wed Oct 7th : LONDON - The Lexington

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Get Me Free #53: HUSH! - Moonlighting

Article by KevW

They may not be the most prolific of bands, having only uploaded five tracks (not including remixes and session recordings) since their stunning debut single 'There's Something In The Stars Tonight', but when HUSH! do offer up something new, it's always pretty special. With a general blend of melodic shoegaze, dreampop, '80s indie and synth-pop, all topped with a vocal that doesn't need to try too hard to give a warm and snuggly feeling, each song has been top class, which makes you wonder why they haven't taken over the world. But, it could be argued, that until they're given time to work on an album and increase productivity then knowing just what they're capable of on a bigger stage isn't known just yet.

Well, if we were a label, we'd sign them, and hand them the time and space they need to make an album, because they've already got half of one (or perhaps a lot more that's yet to be released) that would knock the socks off any other indiepop type bands out there. Stick 'Moonlighting' on their list of great tunes, because this twinkly slow-burner is another beautiful creation that will add a splash of colour to your day and has their trademark top-drawer melodies and harmonies, not to mention music that's as pretty and sparkling as music can get. HUSH! are one of the very best bands of their kind out there, and each new song brings excitement. Someone give them a deal.



HUSH!'s website





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Get Me Free #52: The Wolf And The Weather - Untitled Nude

Article by KevW

The Wolf And The Weather are a duo who like to keep everything in-house. This isn't always the best of ides, as sometimes some outside input will spot things that maybe you've missed. However, this pair appear to be doing just fine as they are. They consist of Harrison Ward who takes care of composition, instrumentation and production, and Emily Pickthall who adds lyrics and vocals, as well as the artwork. Between the two of them they have it all covered, and second EP 'Portrait With Teeth' shows ambition, taking alt-rock with a grunge influence and tidying it up to possibly give the songs a wider appeal.

On 'Wanderlust' they take a more chilled approach, almost to the point of it becoming a ballad (although it builds towards the end); the arrangement and production wouldn't be out of place on a trip-hop/pop album. The impressive, two-part 'Fading Roses'/'This Garden's Over' showcases a wider range of what the duo are about, but perhaps the best of this trio is 'Untitled Nude'. Here, grungy guitars are brought in, along with a more traditional but contemporary rock approach. There's a good deal of power in that voice and it's note perfect. With this song they take the alt-rock scene of the mid-'90s and scrub it up for a modern audience, and with a sound like this, that audience could turn out to be a decent size.



The Wolf And The Weather's website

Stream or buy the EP`





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Agarimo - Agarimo

Article by KevW

Quite charmingly, Bristol's Agarimo refer to themselves as "Spanglish" due to two brothers in the band being of Spanish heritage and the fact they now live in the UK. In fact, the name "agarimo" is actually Galacian (a language mainly spoken in north-west Spain) for "in the shelter of". Quite what the feel the need to hide from they don't say, but they really have no need, because the music they make is inventive and effective. Agarimo may have just released their first music under this name in the summer, but the same formation has previously graced these virtual pages as wave n400, with the name change coming because two of the band no longer live in the UK.

If you follow the music word closely, you may have spotted that the Official Charts Company is now launching a prog chart alongside other genre-specific charts such as dance and indie. Granted, someone should probably have thought about doing that around 1970, but better late than never. Current bands that qualify (the rules are a little hazy) include Flaming Lips, Tame Impala and Public Service Broadcasting. You may not consider them classic prog, but I guess certain elements are to be found. Agarimo, you would imagine, should qualify themselves, particularly when the first track on this single, 'RRRun ~ Miña fermosa nena', is an eight-minute odyssey through rock, electronic and experimental sounds that stirs up an often unsettling atmosphere, especially when the strange chanting begins. It's an impressive piece. The shorter 'Miña fermosa nena' is a similar style, whereby bass is used as something of an anchor for which the spangly guitars and weird and wonderful vocals and electronics are tied to. There's a groove here too which gives this perhaps a slight edge when comparing the two songs. These guys are doing what they want and doing it well, and you can't ask for more than that.



Agarimo's website

Stream or buy the single





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Get Me Free #51: California Death - Wake

Article by KevW

Hailing from Richmond, Virginia, California Death are a young quartet who released their first album earlier this year. Although based in the east of the US, their name references the west coast, and in sound they compare to several bands from the indie/dreampop scene that's sprung up there in recent years. 'California Death' is an album that takes its cue from post-punk ('Postmodern Lover' has a similar moodiness, offset by bright flashes of guitar), the Gothic indie scene of the '80s (the jangly 'Masquerade' recalls The Cure - aside from the vocal), shoegaze, indiepop and more. There's a psychedelic edge at times as well and picking a favourite track is a challenge.

As the whole lot is a free download then it's worth getting the entire package, but as a taster, the band have done the work themselves and chosen 'Wake' as the first track. If we had to pick a running order ourselves then not much would be changed. 'Wake' has instant impact and takes guitar lines that are a sharp as shards of glass and a retro indie-pop feel. They have the urgency and drive of the finest that the alternative world had to throw at us thirty years or so ago, but with a freshness that avoids sounding like a rehash of some dusty old tapes you had as a kid. These guys are still unsigned, but they're consistently better than many bands of a similar style that have been snapped up by a label. If they reach a wide enough audience then you'd expect a proper release before too long. Spread the word.



California Death's website

Stream or download the EP





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