Rattling Abacus


Inspired by 7 year-old Alice Pleasance Liddell, Lewis Carroll wrote the tale of Alice's Adventures in Wonderland.
Published in 1865, "Alice" is a publishing sensation to this day.
Jan 22

Inspired by 7 year-old Alice Pleasance Liddell, Lewis Carroll wrote the tale of Alice's Adventures in Wonderland.

Published in 1865, "Alice" is a publishing sensation to this day.

(Source: lewis-carroll, via beautymart)

Perfume Genius - ‘Take Me Home’


This is the brand spanky new video from Seattle-native Mike Hadreas a.k.a. Perfume Genius, directed by Patrick Sher. As I watch it I see little cloud letters that spell out ‘lullaby in reno’ floating across the screen. It’s so lullaby in Reno. Like, so.  
"i’ll be so quiet for you. look like a child for you. be like a shadow of a shadow of a shadow for you."

It’s like a cross between Blue Velvet and what happens after Grease ends, when Danny’s done a runner on Sandy and she’s a ruined woman. Battered black catsuit, smudged red lips and cracked heels, scorned by her prim Aussie parents, doomed to walk the balmy  night clutching Danny’s T-Bird jacket, eyes streaming with make-up-caked canal tears dripping onto a half-lit cigarette. Melancholy. Lovely melancholy. He does it oh so incredibly well with that soft piano and hazy pain-tinged electronics. Melancholy. Take a bite and have a cry. You’ll feel better in the morning.  The dregs of love would look like this. 
 
To listen to more of Perfume Genius, go here

Or check out his sophomore album Put Your Back N 2 It, it’s friggin fine. ‘All Waters' is what heartbreak would sound like if it could pick itself off up the floor and whimper, and is perhaps one of the most beautiful things I've heard. And, like, obviously I've heard a lot. Obviously
Oct 9

Perfume Genius - ‘Take Me Home’



perfume_genius_thelineofbestfit

This is the brand spanky new video from Seattle-native Mike Hadreas a.k.a. Perfume Genius, directed by Patrick Sher. As I watch it I see little cloud letters that spell out ‘lullaby in reno’ floating across the screen. It’s so lullaby in Reno. Like, so. 

"i’ll be so quiet for you. look like a child for you. be like a shadow of a shadow of a shadow for you."



It’s like a cross between Blue Velvet and what happens after Grease ends, when Danny’s done a runner on Sandy and she’s a ruined woman. Battered black catsuit, smudged red lips and cracked heels, scorned by her prim Aussie parents, doomed to walk the balmy  night clutching Danny’s T-Bird jacket, eyes streaming with make-up-caked canal tears dripping onto a half-lit cigarette. Melancholy. Lovely melancholy. He does it oh so incredibly well with that soft piano and hazy pain-tinged electronics. Melancholy. Take a bite and have a cry. You’ll feel better in the morning.

The dregs of love would look like this.



To listen to more of Perfume Genius, go here



Or check out his sophomore album Put Your Back N 2 It, it’s friggin fine. ‘All Waters' is what heartbreak would sound like if it could pick itself off up the floor and whimper, and is perhaps one of the most beautiful things I've heard. And, like, obviously I've heard a lot. Obviously

Conner Youngblood - ‘The Warpath’

Summer’s over. I’ll deal with that. Today’s borderline hurricane was a nice big dick-slap across the face from old Weather, that tricksy bastard, for getting overexcited about “indian summer.” Fine. I surrender. But not without my pride. FOR EXAMPLE - 
there are positive thumbs up to be said for the onslaught of Autumn. Big jumpers, christmas jumpers, mulled wine, mulled cider, red wine, red trees. Then there’s:

Rosy cheeks: makes young men look like eunuchs and old men look like perverts. Amusing either way

Christmas and/or winter-themed hits: chronicling the absolute euphoria-inducing, hug-a-stranger Best, and absolute eye-grating shit-your-pants Worst, moments in pop history

Men’s footwear. Sayonarra man sandals, flip-flops, and sockless trainers. Thank the fucking lord. 

The gym. Naaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhhhhhhhhhhhhhhhh

And most importantly cloud-soaked rain-splattered days makes it all the more worthwhile to sit in bed and listen to rad tracks like this one from the elusive Conner Youngblood, one of the better Conners to sidle into the music arena this year. At the start it’s as if Simon & Garfunkel's 'El Condor Pasa' and the Gustavo Santaolalla's Babel theme are setting off in the quiet aftermath of a Mayan apocalypse to set the world to right, hand in hand through the dying sunlit desert straits. The military drum-beat gives it this slow-marching seductive purpose, and Conner’s soft layered vocals against the recurring bass-line is like a whispered conversation between dark alleys and damp sheets. It’s Bon Iver on viagra, meets Blood Orange meets Jamie Woon.

He’s been around and about for a few years, releasing a track here and a track there, but it wasn’t till this year’s SXSW that he really drummed up a storm. Plus to top it all off he’s a clever sod, currently imbibing knowledge by the gallon at Yale. And he’s only 21. AND he’s responsible for a friggin A-Rad Blackbird Blackbird x Lil Wayne x Modest Mouse mix. What an underachiever.

The track’s already out, and in fact you can download this, as well as other hefty chunks of his repertoire, for free from his Soundcloud. Don’t say we don’t spoil you


Listen to more Conner Youngblood here
Photo courtesy of goodnumberone.tumblr.com
Sep 25

Conner Youngblood - ‘The Warpath’



connor_youngblood

Summer’s over. I’ll deal with that. Today’s borderline hurricane was a nice big dick-slap across the face from old Weather, that tricksy bastard, for getting overexcited about “indian summer.” Fine. I surrender. But not without my pride. FOR EXAMPLE - 

there are positive thumbs up to be said for the onslaught of Autumn. Big jumpers, christmas jumpers, mulled wine, mulled cider, red wine, red trees. Then there’s:




Rosy cheeks: makes young men look like eunuchs and old men look like perverts. Amusing either way



Christmas and/or winter-themed hits: chronicling the absolute euphoria-inducing, hug-a-stranger Best, and absolute eye-grating shit-your-pants Worst, moments in pop history



Men’s footwear. Sayonarra man sandals, flip-flops, and sockless trainers. Thank the fucking lord. 



The gym. Naaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhhhhhhhhhhhhhhhh



And most importantly cloud-soaked rain-splattered days makes it all the more worthwhile to sit in bed and listen to rad tracks like this one from the elusive Conner Youngblood, one of the better Conners to sidle into the music arena this year. At the start it’s as if Simon & Garfunkel's 'El Condor Pasa' and the Gustavo Santaolalla's Babel theme are setting off in the quiet aftermath of a Mayan apocalypse to set the world to right, hand in hand through the dying sunlit desert straits. The military drum-beat gives it this slow-marching seductive purpose, and Conner’s soft layered vocals against the recurring bass-line is like a whispered conversation between dark alleys and damp sheets. It’s Bon Iver on viagra, meets Blood Orange meets Jamie Woon.



He’s been around and about for a few years, releasing a track here and a track there, but it wasn’t till this year’s SXSW that he really drummed up a storm. Plus to top it all off he’s a clever sod, currently imbibing knowledge by the gallon at Yale. And he’s only 21. AND he’s responsible for a friggin A-Rad Blackbird Blackbird x Lil Wayne x Modest Mouse mix. What an underachiever.



The track’s already out, and in fact you can download this, as well as other hefty chunks of his repertoire, for free from his Soundcloud. Don’t say we don’t spoil you





Listen to more Conner Youngblood here

Photo courtesy of goodnumberone.tumblr.com

Chairlift - “I Belong In Your Arms” (John Talabot & Pional Mix)


Damn. Just when you thought “Summer” was over (except it never really came, did it), this shit drops and the whole frigging cat is out of the bag and all over the shop. There comes a point around now when the British population start spurting all kinds of crap like welcoming Autumn, loving the smell of Bonfires, getting excited about the increase in style possibilities that come with having-to-wear-more-clothes, and psyching up about Christmas. What we actually want to be doing is throwing all our toys out of the bath because summer is over, all three weeks of it. But, for psychological health reasons we can’t admit this because otherwise we’d all emigrate the fuck outta this gandalf-the-grey-skied shire and head for sunnier climes, and then the economy would really be up shit creek. So instead, we *pretend* we can’t wait for the colour-dappled horizons of Autumn, and overheating on the tube, and the smell of bonfires, and Christmas. And it’s ok, we soldier on. 

Except then wizard wondrous DJs/producers John Talabot & Pional pop out this beauty of a Chairlift remix, and suddenly it’s like, HANG ON. I’m not quite ready for summer to be over, I’m not quite ready to give up on my never-actualised plans to go on holiday and sip/chug mojitos and lie by an azure sea and get sand stuck to the suncream and buy too many copies of magazines i’ll never read on the plane and make too many holiday in-jokes and return feeling smug and tanned but slightly fatter from all the chorizo. In fact I’m not even ready to wave goodbye to English BBQs in the half-sun, or sitting outside at the Pub, or going to the park as an actual destination, or wearing sunglasses on the way to work. 

So thanks, guys. I was getting psychologically ready to hibernate for the next million hours, but now I want to whack this on repeat and stay in “holiday mode” for a good long while. And I haven’t even been on holiday. 

Thanks a fucking bunch.
 
The remix is part of a 12” out on October 29 via Young Turks 
(Colour photo care of Patternity)
Sep 14

Chairlift - “I Belong In Your Arms” (John Talabot & Pional Mix)



John_Talabot_AbeanoBlog)

Damn. Just when you thought “Summer” was over (except it never really came, did it), this shit drops and the whole frigging cat is out of the bag and all over the shop. There comes a point around now when the British population start spurting all kinds of crap like welcoming Autumn, loving the smell of Bonfires, getting excited about the increase in style possibilities that come with having-to-wear-more-clothes, and psyching up about Christmas. What we actually want to be doing is throwing all our toys out of the bath because summer is over, all three weeks of it. But, for psychological health reasons we can’t admit this because otherwise we’d all emigrate the fuck outta this gandalf-the-grey-skied shire and head for sunnier climes, and then the economy would really be up shit creek. So instead, we *pretend* we can’t wait for the colour-dappled horizons of Autumn, and overheating on the tube, and the smell of bonfires, and Christmas. And it’s ok, we soldier on. 



Except then wizard wondrous DJs/producers John Talabot & Pional pop out this beauty of a Chairlift remix, and suddenly it’s like, HANG ON. I’m not quite ready for summer to be over, I’m not quite ready to give up on my never-actualised plans to go on holiday and sip/chug mojitos and lie by an azure sea and get sand stuck to the suncream and buy too many copies of magazines i’ll never read on the plane and make too many holiday in-jokes and return feeling smug and tanned but slightly fatter from all the chorizo. In fact I’m not even ready to wave goodbye to English BBQs in the half-sun, or sitting outside at the Pub, or going to the park as an actual destination, or wearing sunglasses on the way to work. 



So thanks, guys. I was getting psychologically ready to hibernate for the next million hours, but now I want to whack this on repeat and stay in “holiday mode” for a good long while. And I haven’t even been on holiday. 



Thanks a fucking bunch.





The remix is part of a 12” out on October 29 via Young Turks 

(Colour photo care of Patternity)

IT’S A GOLD RUSH: Gwilym Gold, Tender Metal, BRONZE


Yeah that’s right, there’s a theme going on here. A polished, metallic music revolution. With the Olympics now firmly behind us (oh hey shit telly) what better way to get over medal-fever than with a trio of shiny surrogates? Impressario and ex-Golden Silvers frontman Gwilym Gold has turned his nimble hands to BRONZE, a revolutionary new music format that chops and changes tracks with each play, rendering each listen unique. A track can be played ten, twenty or seven thousand times, and with each spin BRONZE will manipulate its musical components so that each playback is slightly different. Music, my friends, has become “non-static.”

HOLD
THE
PHONE
Que? 

The Format: is actually a software for playing music (just like CD or mp3). Developed by Gold, scientists at Goldsmith’s University, and Wild Beasts/Bjork producer Lexxx (odd one out on the name-front there eh buddy),the software algorithmically transforms music that is played through it, swapping the musical strata around each time. One listen might have a louder drumbeat, the next might start in a different place, the next could play down a riff, and the next could be particularly bass-heavy. Imagine throwing a pot of red paint at the wall over and over and over again… the overall result is going to be pretty much the same (a red mess), but it will look slightly different every time. Oh hey metaphor. It’s a critics worst fucking nightmare.

BUT it’s a godsend for musos and intellectuals alike - whether you just like the idea of an album never getting ‘old’ again, or are drooling over the psycho-sociological impact that this has on conventional attitudes to music. In BRONZE, there is no such thing as an ‘original’, fixed version of a track: to be released through the software, each song has to be created with the intention of having infinite possible variations. Recorded music takes the stage with live music, in constant flux, never the same twice, each personal listening experience dictating how something sounds at that moment. Deep. ‘Tender Metal’, out today, is the first album to be released on BRONZE, and is Gold's very own debut. I had a listen the other day, twice. Both times it was pretty spectacular. In fact the whole concept is pretty spectacular. And it'll really sort the wheat from the utter shit disguised with production that's swarming around at the moment. Think of any Chezza Cole track, then think of the black ops battalion of producers who've sweated blood and tears and a hundred condoms to get it sounding OK…………..but only in that perfectly positioned, water-tight arrangement. Re-jig it that initial Midas touch and you’re left with tripe.

AIGHT. My head hurts and I’m convinced I’ve got it round the bloody thing, yours must be reeling. So I’ll leave it there, plus Embarassing Bodies has just unwittingly snuck onto my TV and I need to change it stat. It’s only Monday. I don’t want to see that much bulbous flesh. 

GO FORTH AND BE GOLDEN

Find out more about BRONZE here
Sep 11

IT’S A GOLD RUSH: Gwilym Gold, Tender Metal, BRONZE

Colin-Henderson-design-BRONZE



Yeah that’s right, there’s a theme going on here. A polished, metallic music revolution. With the Olympics now firmly behind us (oh hey shit telly) what better way to get over medal-fever than with a trio of shiny surrogates? Impressario and ex-Golden Silvers frontman Gwilym Gold has turned his nimble hands to BRONZE, a revolutionary new music format that chops and changes tracks with each play, rendering each listen unique. A track can be played ten, twenty or seven thousand times, and with each spin BRONZE will manipulate its musical components so that each playback is slightly different. Music, my friends, has become “non-static.”



HOLD

THE

PHONE

Que? 



The Format: is actually a software for playing music (just like CD or mp3). Developed by Gold, scientists at Goldsmith’s University, and Wild Beasts/Bjork producer Lexxx (odd one out on the name-front there eh buddy),the software algorithmically transforms music that is played through it, swapping the musical strata around each time. One listen might have a louder drumbeat, the next might start in a different place, the next could play down a riff, and the next could be particularly bass-heavy. Imagine throwing a pot of red paint at the wall over and over and over again… the overall result is going to be pretty much the same (a red mess), but it will look slightly different every time. Oh hey metaphor. It’s a critics worst fucking nightmare.



BUT it’s a godsend for musos and intellectuals alike - whether you just like the idea of an album never getting ‘old’ again, or are drooling over the psycho-sociological impact that this has on conventional attitudes to music. In BRONZE, there is no such thing as an ‘original’, fixed version of a track: to be released through the software, each song has to be created with the intention of having infinite possible variations. Recorded music takes the stage with live music, in constant flux, never the same twice, each personal listening experience dictating how something sounds at that moment. Deep. ‘Tender Metal’, out today, is the first album to be released on BRONZE, and is Gold's very own debut. I had a listen the other day, twice. Both times it was pretty spectacular. In fact the whole concept is pretty spectacular. And it'll really sort the wheat from the utter shit disguised with production that's swarming around at the moment. Think of any Chezza Cole track, then think of the black ops battalion of producers who've sweated blood and tears and a hundred condoms to get it sounding OK…………..but only in that perfectly positioned, water-tight arrangement. Re-jig it that initial Midas touch and you’re left with tripe.



AIGHT. My head hurts and I’m convinced I’ve got it round the bloody thing, yours must be reeling. So I’ll leave it there, plus Embarassing Bodies has just unwittingly snuck onto my TV and I need to change it stat. It’s only Monday. I don’t want to see that much bulbous flesh. 



GO FORTH AND BE GOLDEN



Find out more about BRONZE here

It’s been a while.
Sep 10

It’s been a while.

Esperanza - ‘Ink’ 

Welcome back me. It’s been a while. I suddenly went from having no job and spending all day crawling the neverending musical internet corridors all day (and occasionally getting dressed), to having two jobs and crawling my brain for excess stores of energy while I juggled the two and gave up sleep. Never rains but pours etc. (Appropriate, weather-centric add-in, since we’re all moaning manic about the lack of Spring. April showers is one thing, but someone’s taking the piss). Anyway, oh how I’ve missed you, old Abacus. 

Enter Esperanza, a holy triumverate of Italians creating ethereal electronic soundscapes that caress their way through Icelandic atmospherics, San Fran psychadelia and Dusseldorf electronica by way of 90s Detroit techno. The three muskateers are in fact producer Carlo (alias Cécile), whose already released on Gomma and generated some substantial buzz for his remixes; bassist Matteo, and indie-inclined producer Sergio. So evidently there’s a hefty wad of credibility and experience swirling around the Esperanza mixing bowl, aided by the fact that Cécile is also one of the prestigious Red Bull Music Academy 2008 graduates.
‘Ink' is a release from last year's Gomma catalogue, and has whispered its way into my eardrum and set up camp there like an Occupy zealot refusing to leave. It's Sigur Ros, Korallreven, Telefon Tel Aviv, M83, Kevin Saunderson and Robert Hood careering through a Balearic Lavender field (in a manly way), with Apparat and Luke Abbott swanning around somewhere, probably making daisy chains or something equally testosterone-fuelled. It’s achingly summery, and all I need is one measly slither of sun in the sky to shove this on full whack and act like this hasn’t been the shitting wettest Spring since I sprung out the womb. So good is it, in fact, that I’ve just caved and paid for Spotify Unlimited. Sure I’m on a budget the size of a piece of fraying string, and often have to decide between actual food or enough pennies down the pub, but I can’t get enough of this and there’s only so  many times I can hear “Hi, it’s John from Spotify” before I hurl my laptop across the room and punch the nearest passer-by in the face. You’d think they purposely chose people with voices that grate across your ears, there’s Marketing 101 for you. 

Oh there I go again with it on repeat. What am I like. 
 
Listen to more Esperanza here
The boys play Sonar this year as part of “Red Bull Music Academy presents…" If you can get there, get there.
May 16

Esperanza - ‘Ink’ 


Esperanza


Welcome back me. It’s been a while. I suddenly went from having no job and spending all day crawling the neverending musical internet corridors all day (and occasionally getting dressed), to having two jobs and crawling my brain for excess stores of energy while I juggled the two and gave up sleep. Never rains but pours etc. (Appropriate, weather-centric add-in, since we’re all moaning manic about the lack of Spring. April showers is one thing, but someone’s taking the piss). Anyway, oh how I’ve missed you, old Abacus. 



Enter Esperanza, a holy triumverate of Italians creating ethereal electronic soundscapes that caress their way through Icelandic atmospherics, San Fran psychadelia and Dusseldorf electronica by way of 90s Detroit techno. The three muskateers are in fact producer Carlo (alias Cécile), whose already released on Gomma and generated some substantial buzz for his remixes; bassist Matteo, and indie-inclined producer Sergio. So evidently there’s a hefty wad of credibility and experience swirling around the Esperanza mixing bowl, aided by the fact that Cécile is also one of the prestigious Red Bull Music Academy 2008 graduates.

Ink' is a release from last year's Gomma catalogue, and has whispered its way into my eardrum and set up camp there like an Occupy zealot refusing to leave. It's Sigur Ros, Korallreven, Telefon Tel AvivM83, Kevin Saunderson and Robert Hood careering through a Balearic Lavender field (in a manly way), with Apparat and Luke Abbott swanning around somewhere, probably making daisy chains or something equally testosterone-fuelled. It’s achingly summery, and all I need is one measly slither of sun in the sky to shove this on full whack and act like this hasn’t been the shitting wettest Spring since I sprung out the womb. So good is it, in fact, that I’ve just caved and paid for Spotify Unlimited. Sure I’m on a budget the size of a piece of fraying string, and often have to decide between actual food or enough pennies down the pub, but I can’t get enough of this and there’s only so  many times I can hear “Hi, it’s John from Spotify” before I hurl my laptop across the room and punch the nearest passer-by in the face. You’d think they purposely chose people with voices that grate across your ears, there’s Marketing 101 for you. 



Oh there I go again with it on repeat. What am I like. 





Listen to more Esperanza here


The boys play Sonar this year as part of “Red Bull Music Academy presents…" If you can get there, get there.

Fun. - ‘We Are Young’ (ft. Janelle Monae)

There’s going to be a lot of haters out there who diss this tune because it’s like so mainstream man, but, give a shit. Who can dislike a track that hails the spirit of youth, recklessness, and being full of shit? I certainly can’t. I kind of feel like this is the ‘Jerusalem’ for the young. Almost. Actually ‘Jerusalem’ is pretty rad in itself. The band are an indie trio from old NYC, lead by Nate Ruess, formerly of The Formats. They’re like a Spector vs My Chemical Romance cross-breed. Apart from the fun-and-fancy-free call-to-arms, my favourite bits about this video are:

1. The douchebag who starts the bar fight. Smashing that bottle over a girl? Nice one. Next why not have a crack at a disabled infant, they won’t be a able to crush your 190 pounds of bully either. 

2. Janelle Monae’s token part. Not that I don’t love Janelle Monae, or think she rocks a suit probably better than the band. But if I’m honest I didn’t even know she was on the track till I saw the video. And even then I’m straining to hear her. 

3. The song, obviously. Yes I’m in my twenties. Yes I pay rent. Yes I still feel seventeen and want to FUCK. SHIT. UP. most of the time but can’t really because I’m probably too old. ‘NO YOU’RE NOT’ this song says. No you’re not. You’re as young as you feel. Period.

On
Your
Marks
Get
Set
GO

Fun “We Are Young” from Nicole Olson on Vimeo.
 Listen to more Fun. here
Apr 12

Fun. - ‘We Are Young’ (ft. Janelle Monae)



There’s going to be a lot of haters out there who diss this tune because it’s like so mainstream man, but, give a shit. Who can dislike a track that hails the spirit of youth, recklessness, and being full of shit? I certainly can’t. I kind of feel like this is the ‘Jerusalem’ for the young. Almost. Actually ‘Jerusalem’ is pretty rad in itself. The band are an indie trio from old NYC, lead by Nate Ruess, formerly of The Formats. They’re like a Spector vs My Chemical Romance cross-breed. Apart from the fun-and-fancy-free call-to-arms, my favourite bits about this video are:



1. The douchebag who starts the bar fight. Smashing that bottle over a girl? Nice one. Next why not have a crack at a disabled infant, they won’t be a able to crush your 190 pounds of bully either. 



2. Janelle Monae’s token part. Not that I don’t love Janelle Monae, or think she rocks a suit probably better than the band. But if I’m honest I didn’t even know she was on the track till I saw the video. And even then I’m straining to hear her. 



3. The song, obviously. Yes I’m in my twenties. Yes I pay rent. Yes I still feel seventeen and want to FUCK. SHIT. UP. most of the time but can’t really because I’m probably too old. ‘NO YOU’RE NOT’ this song says. No you’re not. You’re as young as you feel. Period.



On

Your

Marks

Get

Set

GO




Fun “We Are Young” from Nicole Olson on Vimeo.



Listen to more Fun. here

The Jezabels - ‘Rosebud’ (Behind-the-scenes)
 So Easter’s been and gone. Some eggs have been cracked, some lambs have been shot, some chocolate has been gorged, and some merry amusement has been had around a pretty random holiday. But hey, a four day weekend? I can’t complain. All that’s left is the dull thump that is the mountain-tonne of food I’ve consumed in the past 48 hours dragging itself through my digestive tract like Thor with a club foot. Probably whilst humming ‘All My Sorrows’ in a baritone voice. Good grief.  
Luckily for me then, I can just distract myself with this oh so interesting clip on the making-of The Jezabels' latest video, 'Rosebud’. It’s always fun to be a voyeur, to see the inside-workings of  the music video machine. But I wouldn’t really care so much if I didn’t completely love this track. There’s something darkly retrospective about it - like the sprites of 80s & 90s pop have been reincarnated in gothic splendour. Singer Hayley Mary's voice slinks around the ghosts of music's past, nodding to Chrissie Hynde, Sinead O’Connor and Nina Persson of The Cardigans. In fact it feels like the aural incarnation of The National's frontman Matt Berninger and Nina Persson's lovechild, wuthering with melancholy lust across a dark, mist-laden moor. It's all cinematic grandeur and rich, brooding soundswells. In the movie-of-my-life scenario (which I basically think about all the time because let's face it, it would be AWESOME), 'Rosebud' would definitely feature. Most likely in a scene involving epic 360degree camera-panning while I battle a tough romantic quandary. Or crack addiction. Harmony Korine eat ya fuckin heart out. 

The band hail from the sunny shores of Australia, and have already knotched up a wide and weighty fan base out there. That, and the 2012 Aussie Music Prize. A casual win. Their album ‘Prisoner' is out now so, by all means, whack a few pennies out and bring that baby home.

 And if that’s teased your interest, here’s the official video: 
The Jezabels - Rosebud (Official Video) from The Jezabels on Vimeo.
 Listen to more The Jezabels here
Apr 9

The Jezabels - ‘Rosebud’ (Behind-the-scenes)



So Easter’s been and gone. Some eggs have been cracked, some lambs have been shot, some chocolate has been gorged, and some merry amusement has been had around a pretty random holiday. But hey, a four day weekend? I can’t complain. All that’s left is the dull thump that is the mountain-tonne of food I’ve consumed in the past 48 hours dragging itself through my digestive tract like Thor with a club foot. Probably whilst humming ‘All My Sorrows’ in a baritone voice. Good grief. 

Luckily for me then, I can just distract myself with this oh so interesting clip on the making-of The Jezabels' latest video, 'Rosebud’. It’s always fun to be a voyeur, to see the inside-workings of  the music video machine. But I wouldn’t really care so much if I didn’t completely love this track. There’s something darkly retrospective about it - like the sprites of 80s & 90s pop have been reincarnated in gothic splendour. Singer Hayley Mary's voice slinks around the ghosts of music's past, nodding to Chrissie Hynde, Sinead O’Connor and Nina Persson of The Cardigans. In fact it feels like the aural incarnation of The National's frontman Matt Berninger and Nina Persson's lovechild, wuthering with melancholy lust across a dark, mist-laden moor. It's all cinematic grandeur and rich, brooding soundswells. In the movie-of-my-life scenario (which I basically think about all the time because let's face it, it would be AWESOME), 'Rosebud' would definitely feature. Most likely in a scene involving epic 360degree camera-panning while I battle a tough romantic quandary. Or crack addiction. Harmony Korine eat ya fuckin heart out. 



The band hail from the sunny shores of Australia, and have already knotched up a wide and weighty fan base out there. That, and the 2012 Aussie Music Prize. A casual win. Their album ‘Prisoner' is out now so, by all means, whack a few pennies out and bring that baby home.





And if that’s teased your interest, here’s the official video:

The Jezabels - Rosebud (Official Video) from The Jezabels on Vimeo.



Listen to more The Jezabels here

Widowspeak - ‘Gun Shy’

Not really a new jewel as such, since Widowspeak's Gun Shy EP came out last year, but it’s still pretty darn shiny and mesmeric.

It’s the musical equivalent of Spring’s blue skies and soft breezes whispering erotic sweet nothings in your ear of Summer’s impending arrival, and if Summer were a sultry woman draping swathes of silk over your skin, this would be playing as she does it. It’s the sort of song that would probably have been played in Cassie’s episode of Skins (S1) as she floats along some tree-lined Bristolean avenue high on hunger. This, obviously, is when Skins was relatively interesting, i.e. before the focus became how cool it is to take MDMA at school, fuck strangers you meet at conveniently seedy illegal raves, develop some kind of tick-box psychological breakdown, murder creepy stalkers, attempt marriage, take more MDMA, fail your exams, become a drug dealer, and leave everyone wondering whether the writers are just trying to outdo each other with the ridiculousness of it all. One of them should just kill all the characters off in one doomsday-fuelled episode. Beat that fuckers.

The trio hail from the bastion of NYCool, Brooklyn, and have been lighting up the underground music scene with their melancholy blues-rock-tinged nostalgia and swirling 90s grunge. The influence fresh on everyone’s tongues is of course Mazzy Star, and Hope Sandoval's musical ghost seems at times to trickle out of Widowspeak chanteuse Molly Hamilton's lips like listlessly exhaled smoke. Alongside this are the sister nods to other early shoegazers The Jesus & Mary Chain, though it’s not just a case of rehash/repeat. The guitar line swirls with the ‘wet’ spring reverb of surf rock, like Surfer Blood on tranquilizers, or a Chris Isaak lullaby (a cover of Isaak’s ‘Wicked Game' is the B-side to this EP.)
 Also, don’t they just seem like such a fun bunch of guys, guys? Don’t you just look at this photo and think, hey man I wanna be their friend, we could like join an ironic bowling league and all get matching jackets or something. 
<a href=”http://widowspeak.bandcamp.com/track/gun-shy” data-mce-href=”http://widowspeak.bandcamp.com/track/gun-shy”>Gun Shy by WIDOWSPEAK</a> 
Listen to more Widowspeak here
Mar 27

Widowspeak - ‘Gun Shy’


Widowspeak_Gun_Shy_EP


Not really a new jewel as such, since Widowspeak's Gun Shy EP came out last year, but it’s still pretty darn shiny and mesmeric.



It’s the musical equivalent of Spring’s blue skies and soft breezes whispering erotic sweet nothings in your ear of Summer’s impending arrival, and if Summer were a sultry woman draping swathes of silk over your skin, this would be playing as she does it. It’s the sort of song that would probably have been played in Cassie’s episode of Skins (S1) as she floats along some tree-lined Bristolean avenue high on hunger. This, obviously, is when Skins was relatively interesting, i.e. before the focus became how cool it is to take MDMA at school, fuck strangers you meet at conveniently seedy illegal raves, develop some kind of tick-box psychological breakdown, murder creepy stalkers, attempt marriage, take more MDMA, fail your exams, become a drug dealer, and leave everyone wondering whether the writers are just trying to outdo each other with the ridiculousness of it all. One of them should just kill all the characters off in one doomsday-fuelled episode. Beat that fuckers.



The trio hail from the bastion of NYCool, Brooklyn, and have been lighting up the underground music scene with their melancholy blues-rock-tinged nostalgia and swirling 90s grunge. The influence fresh on everyone’s tongues is of course Mazzy Star, and Hope Sandoval's musical ghost seems at times to trickle out of Widowspeak chanteuse Molly Hamilton's lips like listlessly exhaled smoke. Alongside this are the sister nods to other early shoegazers The Jesus & Mary Chain, though it’s not just a case of rehash/repeat. The guitar line swirls with the ‘wet’ spring reverb of surf rock, like Surfer Blood on tranquilizers, or a Chris Isaak lullaby (a cover of Isaak’s ‘Wicked Game' is the B-side to this EP.)



Also, don’t they just seem like such a fun bunch of guys, guys? Don’t you just look at this photo and think, hey man I wanna be their friend, we could like join an ironic bowling league and all get matching jackets or something.



Listen to more Widowspeak here