You know what time it is; time for me to make repetitive and stretched thin analogies about heart rate, heartbeats, blood flow, life force, pulses, and generally anything relating to the circulatory system – because that makes me sound like a proper writer what can write proper.
However, no more! I’ve put together another ramshackle and eclectic mix of new acts for you to shove in your brains, right through your ears, and fall in love with because your brain and ear brains will tell your heart – because biology. Anyhoo, there’s a really go range of music for you, so have a read, have a listen, and find something you love.
Naked (On Drugs)
Contrary sorts are Naked (On Drugs); take that as a comment on the band or social commentary on naked people on drugs – it’s your call, though I did stylise it as the band do. In their own, or someone else’s, words their genre is melodramatic porn. A short description of themselves is met with the definition of nonchalance. A long description of themselves is met with multiple arrangement variations of the words ‘how dirty is that’.
The music sexed and dealt up by Naked (On Drugs) is a raw and sparse creature hiding in dark spaces populated by flutters and flashes of rock ‘n’ roll, avant-jazz, Eastern European folk, broken-Electronica, sci-fi horror, dirt, grime, and full frontal nudity. It’s essentially the score that accompanies the words in my head when I read Naked Lunch by William S Burroughs.
I have the feeling that in the case of Temple Invisible, said temple is invisible because it is as black as the night it’s surrounded by. It’s either that or it’s built of perfectly transparent crystal that only makes its presence known as it refracts the strobes of ultra-violet light that pulsates and shines out with a slow-burning epileptic intensity.
The soundtrack playing in the complete darkness of the former or the vampire rave orgy of the latter is a bleeding into each other electronica, industrial, synth pop, and straight up goth. Influentially there a number of possible comparison to be drawn including Nine Inch Nails, Depeche Mode, Portishead on Third, and Mezzanine period Massive Attack.
The Bucharest-based trio release their debut EP ‘Enter_’ in December.
Sometimes a voice strikes you, really strikes you – Laura Doggett possesses one such voice. Currently working on her debut album, 2014 has seen her release the singles Phoenix and, most recently, Moonshine. Upon listening to either of these tracks your ears immediately prick at the audio aesthetic of the instrumentation introducing itself; static crackles and pops, snippets loop, reverb and echo open the atmospherics out, slow beats stutter and flicker, and piano grounds it all.
However, the moment Doggett starts singing is the moment the pricking of your ears lifts your head to take note and really take it in. This voice that smoulders on bass tones and thick smoke that then flickers and rises with the flames, burning everything up in the process. Doggett’s vocals and the trip-hop meets dark-pop balladry of the production are a perfect matching.
A sextet today, Motopony have gone through several revolving doors in processes of changes to line up arrangements and band members. However, this isn’t a turbulence or inconsistency but a representation of the free flowing and free form spirit running through the music the band makes, its core elements, and its ever onward evolution.
Swirling around in Seattle and Tacoma the six piece swim through psychedelia, folk, electronica, pop, soul, and prog, stirring up an altogether indie solution. However, that’s just their current current; in their years together the band have at times honed in on more precise and concentrated variants of all those genres before reaching the more encompassing blend they presently offer.