Jessica93
Having already successfully covered his homeland of France in an exceedingly ominous, dark cloud, Jessica93’s Geoffrey Laporte is seeking replicate that effect all across Europe thanks to a wider release of Jessica93’s latest album Rise and some relentless and extensive touring, and it’s hard to imagine him failing.
The shadow his musical cloud casts his pitch black, its darkness somehow infectious like an airborne virus, and the sensation of succumbing to it utterly intoxicating. Combining the musical aesthetics of The Cure at their harshest and most morbid, Joy Division at their most teetering on the edge, Nirvana at their most brooding and least crowd friendly, and the bitter atmosphere of Justin Broadrick, Jessica93 is beguiling and hypnotic in the most sinister way.
Allusondrugs
If the whole world were on drugs, would it be a nicer place? Would be all get along? Would we find ourselves in some blissfully euphoric utopia? Would we finally find peace in our time? Would it last forever and ever? No, probably not. I don’t know if you’ve found yourself in a house full of people who’ve been up on drugs for a few days as one by one everyone’s supply runs down. It’s not pretty.
Though, it’d really depend what the drug or drugs were. I mean, I was once convinced that everyone in the world experienced a k hole in the bed of my room a few years ago that we would achieve peace in our time. Sure, I was in one at the time, but I stand by it.
Anyway, Allusondrugs, the soundtrack to all of us on drugs? Perhaps. The Yorskhire five piece manage to blend together the fuzzed out grooves that that would require with the equally necessary blissed out sunshine vibes, but also the odd intense divergence into paranoia that inevitably leads into a noisy freakout. Oh, and their melodies are ever so, ever so moreish.
Misty Miller
When Misty Miller’s most recent single, ‘Happy’, came on the radio recently, I felt like I’d been kept out of the loop of something special somehow, or it had at least just passed me by. Which, as an apparent recommender of new music with a finger on the pulse and his ear to the ground is not a good thing. However, I can lament and scorn myself in private about that.
Quickly trawling back through Miller’s back catalogue, I discovered that ‘Happy’ is just the latest slice of absolutely infectious guitar driven indie from Miller that lies somewhere between the anthemic garage rock of The Vaccines, the passionate singer-songwriting of Sharon Van Etten, the stumbling lo-fi rock ‘n’ roll of Ezra Furman, the swaggering sprinkles of blues and country that Jake Bugg enjoys, and maybe even a little bit of the belly fire The Runaways boasted boisterously. Seriously hooked here.
White Reaper
I’m going to keep it short and sweet in relation to White Reaper, because that’s their approach to music; if your version of sweet includes relentless and ramshackle rock ‘n’ roll rich in reverb, rambunctious rhythms, rollicking riffs and other words beginning with ‘R’ because I fucking love alliteration.
Though, yeah, these Kentucky upstarts kick out the jams in short, sharp bursts combining adrenalin fuelled romance, heartbreak, late nights that lead into even later mornings, drink, drugs, adventure, and every it means to be young. All delivered through chaotic garage rock, touches of classic 60s pop, all of the fuzz, and drunk snake synth lines.
Arrows of Love
Arrows of Love, doesn’t that name just convey a wholly wholesome image of Cupid, cherubs, romance, heart-shaped arrows, clouds, sunshine, dreamy swooning, general lovey and dovey things in your mind’s eye? By stark contrast, the music Arrows of Love make is not appropriate to love at first sight spottings, picnics in the park, or making sweet, sweet love down by the fire. No. It’s fucking vicious.
London-based makers of racket, trashers of venues, inciters of riots, throwers around of selves, thrusters of genitals, peacocks of posture, and general purveyors punk rock fury, Arrows of Love are renowned for absolute chaos in a live setting, and on record they capture that via a through-line between Eighties Matchbox B-Line Disaster, McClusky, Sonic Youth, and Queens of the Stone Age.
That’s not to say they’re one dimensional noise generators, because those aforementioned influences aren’t either, and the band often dip into slower, sombre, and sinister territory, like with their track ‘The Knife’ for example playing like a Nick Cave country ballad combining lead singer, Nima Teranchi’s moody gravel with guitarist Lyndsey Crtichley’s tender and slight shoegazeily hushed harmonies. It explodes eventually as any tryst with a knife inevitably will.
Some of the coverage you find on Cultured Vultures contains affiliate links, which provide us with small commissions based on purchases made from visiting our site.
