It only seems like minutes since I was writing here about the last single from The Churchill Garden, ‘Reality’. Now here we are with the latest track from the collective mind of Andy Jossi and Krissy Vanderwoude.
Where ‘Reality’ was a real mover. with their latest single, ‘Fade Away’, the pace is more sedate. This slower tempo really plays to both their strengths. Andy has an uncanny ability to convey emotion through the dynamics of his music. As the song progresses we rise and fall, start and stop all leading to a stunning crescendo at the climax of the song.
Krissy, as usual, is pulling her lyrics straight from her heart. Layering heavenly harmonies over a stunning lead vocal. This is the summery hit we all need right now in these cold winter months.
If you haven’t listened to any of The Churchill Gardens previous work I would highly recommend their Heart & Soul album. As well as being an exquisite collection of songs it’s also one of the most beautifully designed records I have in my collection.
In a strange curve ball for me I received this out and out pop track this week. Normally I tend to lean to the alternative or indie artists however this artist seems to be ploughing a furrow all of her own.
Mystery Rose is a seventeen-year-old artist who has grown up in Los Angeles. Epicentre of the “look at me” culture. Rather than buying into all of that she has decided to eschew it, in favour of letting her music speak for her. Her style is familiar It has the indie pop of Amy McDonald with the acoustic strums and the teenage snarl of Avril Lavigne.
To date she has released five singles and now is back with new single ahead of her album release later this year.
‘Stability’ is a catchy number which will earn her a lot of fans. The tale is familiar. A failed teenage relationship that our singer is reflecting on.
“Lyrically, it’s about relationships. Whether you leave someone or you get left, you still feel vulnerable, like someone took away your stability — not just with them, but for future beaus! Break-ups have a lasting effect on everyone, no matter which side they are on.”
Whilst the songs lyrics have that naivety of youth, the melody is more fleshed out, especially in the chorus. Chiming guitars over a pounding drum beat lend a real credibility which I think an acoustic version of this song would lack.
Mystery Rose has a great attitude to her music and how it is performed.
“My interest is really in creating the song. Not so much who sings it, but who listens to it and how that audience is impacted or affected by the poignancy. If other artists use my material, or if ordinary listeners are singing in the mirror, that’s cool for me. I get a kick out of being the creator, not necessarily the only performer. I hope my work is universal in its appeal and that many will want to perform it.”
After two exquisitely crafted single releases in ‘Night Drive’ and ‘Day by Day’, Preston’s White Flowers return with their new EP Within a Dream. Recorded at home and in the studio back in 2020 during the various lockdowns the songs on the EP explore themes of isolation, dissociation and self-reflection in this troubling time.
White Flowers is made up of Katie Drew and Joey Cobb who together weave the most wonderful soundscapes blending post-punk, goth, dreampop and shoegaze in their own unique way.
The EP kicks off with the title track. It slowly appears, as if from the dark, with Katy’s whispered vocal over a cascading synth. An ominous bassline looms large until the chorus blooms with the most joyous melody. It’s a surefooted opening and retains the White Flowers aesthetic from their previous releases.
‘Blue May’ follows, a more chilled affair. Laid back vocals and reverb-soaked guitar. It has all the intent of a 1950’s ballad couched in the most modern of delivery and production. The swirling outro is pleasantly discombobulating and a great way to finish the song.
Over on Side B we find ‘You Caught Me’ a dynamic and enthralling mix of goth and dreampop. The balance struck between the dark bass and synth parts against Katy’s beautiful voice and the glistening guitar is spot on.
After the three originals which explore the outer edges of post-punk, dreampop and shoegaze in increasingly alien ways comes a beguiling cover version of Mama Cass’s ‘Didn’t Want to Have to Do It’. As with their version of Red House Painters’ ‘Katy Song’ from the Day-by-Day single it provides another example of how defined White Flowers’ aesthetic has become, as they’re effortlessly able to shape the music of others to their own vision.
This gorgeous four song collection is out now via Tough Love. Alongside digital formats, it will be pressed to 12″ transparent vinyl in an edition of 300 which you can order via their Bandcamp page, Tough Love or a selection of indie retailers.
Italy is one of the most beautiful countries I have ever visited. There is a fine tradition of world class music emanating from their shores. Continuing that tradition is You, Nothing, an up-and-coming shoegaze/dreampop band based out of Verona. Formed in 2019 the band consists of Gioia Podestà (vocals and guitar); Federico Costanzi (guitar and keyboards); Giulia Cinquetti (bass) and Nicola Poiana (drums and drum machine).
Back in October 2020 the band released their dreamy first single “Waves” and its video which you can check out below.
Their music mainly recalls the shoegaze scene of the early 90s, made up of reverberated and distorted sounds, vocals sometimes ethereal, sometimes punchier with the addition of post-punk rhythms.
Now they are back to release their second single “Reflectie” and a homemade video, edited by the guitarist, filmed and directed by the band. The song is exquisite with Gioia’s voice complementing the chiming guitar and crystalline synth perfectly. The chorus is massive. I can see this playing well in big venues one day. This is a band with ambition and the skill and passion to deliver.
Last summer they recorded their debut album which I can reveal will be called “Lonely // Lovely”. There is no release date set as yet but as soon as I know about it, I’ll be back to give you a track-by-track breakdown.
“Reflectie” is out now via Flippy Dischi and you can access it here.
This last year has been a tough one for all of us, for so many reasons. As we headed into 2021 my hope was for another great year of music to help us all escape the stress and chaos of life today. Music to lift us up and envelope us in its warm embrace.
It was with absolute joy that I received the new EP from Australian gazers The Empty Sleeps who are Nic Datson (formerly of No Through Road / Alpha Beta Fox) and Tristan Hennig (formerly of Little Ice Age / Bye Bye Mountain). After stirring up quite the buzz on the international shoegaze scene with their first release ‘Good Place’, this Adelaide two-piece dreamgaze outfit return with ‘PANTHERS’.
As soon as this song begins you immediately exhale and smile. It feels like a wave of joy just washing over you. It almost feels orchestral in places. The guitar riff loops around and each time another layer is added. A guitar lick here, a vocal line there. All adding up to an exultant, joyous four minutes.
The title track is then remixed by Blush Response, Tim Koch, Lone Kite, Deep Sea Data and Dental Jams/Ezroh. What is really interesting is how each remix retains that jubilant heartbeat that drives and powers the song whilst adding their own unique take. I would draw the listeners ear to the Blush Response remix in particular. It is just stunning.
What a fantastic way to begin the year. ‘PANTHERS’ is being released on CD, download and a limited edition 10” vinyl available now from The Empty Sleeps Bandcamp page.
The EEP singer is back with her own solo outing with The Rosie Varela Project. ‘Low’ is the first single from Rosie who says she created this outlet for herself so she could stay productive and sane between her monthly virtual EEP recording sessions. This will also let her record her back catalogue of songs leading to an album in 2022.
The song kicks of with a shimmering wall of guitars supported by pounding drums. Immediately you can tell this is going to be altogether different to her work with EEP.
Dreamy, woozy and overlapping vocal lines keep the listener off balance whilst the crystalline guitars chime over everything like sunlight on a lake. The song climaxes with a sixties style psychedelic jam with Rosie channelling her inner Grace Slick.
2020 has been the worst year in my living memory, of that there is no doubt. However, it has also been a year of unprecedented musical creativity. This has been the hardest list to compile as the sheer amount of excellent albums that have been released this year has been overwhelming. It has led to me having TWO albums in the number one spot as I couldn’t separate them. I have been really lucky to have reviewed some of these amazing albums this year. If you see an asterisk next to the album name select the picture to read my review in full.
10 – The Homesick – The Big Exercise
This is one curveball of an album. You start off in baroque sixties pop territory, almost Fleet Foxes and by the end of side B it feels like you are front row at an Idles gig! I lose myself in this album every time it goes on!
Key Track – Male Bonding
09/ Kiwi Jr. – Football Money
This one owes a lot to the Pavement sound but my god they do it so well. There isn’t a bad track on here. From the Brighten the Corners vibe of ‘Murder in the Cathedral’ to the Jonathon Richman influenced ‘Leslie’ to ‘Swimming Pool’ which sounds like a lost La’s track this album skips about like a toddler on a litre of Ribena! Utter happy happy joy joy start to finish!
Key Track – Murder in the Cathedral
08/Sweeping Promises – Hunger For A Way Out
This short sharp jolt of pop punk really caught my ears this year. Like a modern day Blondie crossed with The Strokes. From the strident title track to the more laid back ‘Blue’ this album keeps your attention throughout!
Key Track – Hunger For A Way Out
07/ Christian Lee Hutson – Beginners
This is an album of consummate song writing start to finish. The fallibility of the human condition is laid bare in track after track. No punches are pulled and you can’t help but wince from time to time. Behind it all are stunning folk tunes which will stand the test of time from the Paul Simonesque ‘Atheist’ to the confessional duet ‘Keep You Down’.
Key Track – Talk
06/ DEHD – Flower of Devotion*
I discovered this album fairly recently but it has rarely been off the turntable or the car stereo. My intro was the wacky video to the amazing single ‘Loner’. I immediately went and explored the album. All three members of the band turn in lead vocal performances too, which is unusual. The album has that heavy reverb Julee Cruise Twin Peaks thing going on coupled with heartfelt songs packed with interesting hooks and choruses !
Key Track – Loner
05/ EEP – Death of a Great Machine*
I am so so happy for Rosie and the band this year! They have produced one hell of an album and have received all round praise for it from every corner of the Shoegaze community and beyond. This album swept me off my feet in a big way. It’s an incredibly emotional listen which you cannot help but get swept up in. Just listen to ‘Hogar’ or ‘Can’t Keep Hurting’ to see what I mean! I have heard that album number two is being worked on which I am immensely excited about!! Roll on 2021!
Key Track – Hogar
04/ Hum – Inlet
This album, this band even, came right outta left field for me this year! It was one of those lightbulb moments where you end up going and snagging all the back catalogue !! The guitars on this are just ….. the definition of HEAVY! But the songs have that amazing balance of melody and mayhem that I like in a band!
Key Track – Desert Rambler
03/ Nothing – The Great Dismal*
I’ve been lucky enough to get early access to a lot of great music this year so I could write blogs on them. Bands and labels have been brill at sending CD’s, vinyl and tracks over early doors to allow me time to properly digest the music to write about it. Nothings people were super generous in giving the album to me a full month prior to release allowing me time to properly soak it up. The album was inspired by the first photo of a black hole and themes of universal collapse but the music on this album is jubilant! Every time I listen I come away elated and wanting to listen again.
Key Track – Famine Asylum
02/ bdrmm – Bedroom
Another album that landed this year with an instant appeal was the debut album from bdrmm. I covered the ‘ Reason to Celebrate’ single earlier in the year and knew from that something special was coming. I wasn’t wrong. This is a stunning debut for any band. Songwriting of the highest calibre coupled with a nailed down shoegaze aesthetic across all the tracks. It was that cohesive, seamless listening experience that has earned this band plaudit after plaudit. If this one has passed you by this year make sure you check it out.
Key Track – A Reason To Celebrate
So now we get to the number one albums for me this year. I judge how good an album is on how much time it spends on my turntable. I just can’t split these two. I adored them both so so much.
01/ Zoon – Bleached Wavves
First time I heard this band was the title track from the album. I couldn’t believe my ears. It literally blew my mind. I scrabbled around trying to think of ways to describe it. The name Zoon derives from the Ojibway word Zoongide’ewin which means “bravery, courage, the Bear Spirit” and aptly describes the inspirations for the project and the lovingly crafted first full-length recording from aboriginal songwriter, Daniel Monkman. In Bleached Wavves Daniel crafted a work of stunning originality, blending the dreamy and psychedelic sounds of shoegaze with the more traditional sounds of his heritage. I have honestly never heard anything like this before and this is only his first album.
Key Track – Bleached Wavves
01/ Laveda – What Happens After*
I first discovered Laveda whilst watching one of DKFM DreamGaze events which brightened our 2020 no end. They performed the song ‘Blue Beach’ and it absolutely floored me. The performance they gave was wholly captivating and the harmony singing was so on point !I chased a copy of the album down hastily and was so happy that Blue Beach wasn’t a fluke. Every track was well crafted, used unique soundscapes and choruses…. man they got choruses !! When you listen to this record it’s hard to believe it’s a debut. Greatness awaits for Jake and Ali (and band). I’ll be waiting patiently for what happens after.
Key Track – Blue Beach
To all my readers, have a wonderful new year when it comes and here’s to a much brighter 2021 for us all.
Well, it’s the festive season again at the end of the toughest year in my memory. Throughout this year our bands and musicians have been producing some of their best work. I was looking for something suitably festive to post as my Merry Xmas blog when along came Fotoform.
Fotoform hail from Seattle, Washington and have been releasing 80’s and 90’s inspired darkwave since their 2017 self-titled debut. Prior to this they were known as C’est le Mort.
This is the bands first festive track and kicks off in the usual way with the obligatory jingle bells. Then the track unfolds verse by verse. This could be the Xmas song on Stranger Things next season.
The band say the song was “inspired by a patch on a vintage synth we dusted off and written in anticipation of the bittersweet feelings the holidays bring (especially this year), this one comes straight from the heart.”
This song could only have been written in 2020. In a year where we have been forced from our loved ones even though we are so close. Where we have had to isolate, separate, dislocate and extricate ourselves. The heartache and longing is palpable in every note of this song. This should be the Xmas number one the world over.
As if that wasn’t amazing enough, the band will be donating all proceeds through until the end of the year to the University District and West Seattle food banks to help combat food insecurity in their community. A really worthy cause I’m sure you will agree.
So, with Xmas nearly upon us I just wanted to wish all readers of Static Sounds Club a very merry Xmas. I hope you have a wonderful day. Better days for us all are coming soon. I believe that from the bottom of my heart. Thank you all for following the blog in 2020 and helping me get it up and running. I cannot wait to bring you more great music in 2021.
Until then please support Fotoform and the University District and West Seattle food banks by buying the single from Fotoforms Bandcamp page.
Returning with their latest single is Greenock’s rock supremo’s The Method One. ‘A Life Obscene’ is the latest in a series of tracks the lads have been teasing us with ahead of a much-anticipated album release.
The band formed from the ashes of Glasgow outfit Dresden features Dave Mac (Vocals), Robert McGovern (Guitar), Gary Foley (Guitar), Dodge (Bass), and John McLelland (Drums). The sharper eyed among you will recognise Robert from his days playing alongside Primal Screams Jim Beattie in Spirea X.
The Method One are renowned for their incendiary live shows. It’s great that they pull no punches on record too.
True to form this song comes straight out the gate ten feet tall and taking no prisoners. All pounding drums and wall of sound guitars. The production is expansive bringing to mind the Morning Glory era of Oasis.
There is a nice contrast between some really ominous rhythm guitars and the chiming lead parts. The rumbling rhythm section is solid and, at times, steps front and centre. I particularly love when that’s happening with the drums.
Singer, Dave Mac, glues it all together with his assured delivery. He is on top form in the latter half of the song especially, as it all comes to a climax.
Putting it all together you have a pretty special track. With an album in the pipeline it won’t be long before The Method One will be playing in arenas. You heard it here first!
Dream pop is such a vibrant and vital genre. There is no more vital member of that scene than CASTLEBEAT, the lo-fi project of first gen Spanish-Korean-American Josh Hwang, also founder of the record label Spirit Goth. He has a unique DIY, lo-fi approach to recording. His self-titled debut was recorded at home in his garage yet sounds yet has the production values of any high-end studio recording. That first album is a regular on my turntable. There is not one bad track on it. Then came the follow up VHS in 2018. Josh himself considers this a direct continuation of his debut. For me it is a shade darker and denser in production but just as engaging and enjoyable.
Now CASTLEBEAT returns with a new album. On Melodrama Hwang is looking to broaden his musical palette. Drawing from his dream pop roots he reaches out into synthwave, hip hop, jangle pop and more whilst maintaining his lo-fi credentials by continuing to record at home.
The album opens on a slow burning instrumental. ‘Beam’ sets the mood for the album. Straight away you can tell this album is going to different to VHS or his debut. The synth is so well formed and defined. The beats divine, lead us into ‘Summertime’. The first word that comes to mind when describing this song is romantic when in actual fact it’s anything but. The lyrics deal with the break up of a relationship “Taking the time. Keep it together. Feeling inside. How to forget her.” Bleak though the lyrics are, the tune is so warm and lustrous. You can almost visualise the heat haze rising from the sidewalks.
On ‘TI-83’ we are in classic CASTLEBEAT territory. Dreamy and woozy vocals over an synth and drum machine backing. I’m sure I had a TI-83 calculator when I was in school. The reference being to the key lyric “Recalculate my brain. I just don’t think the same. Like I did before”. There is a real high school theme starting to emerge.
As if to confirm my suspicions next up is ‘80’s High School’ featuring the most synth heavy production on the album. Josh was deliberately trying to move away from that guitar centric approach with this album and nowhere else on the album is that more evident than on this song. This is a risky move for him but for me it pays off. I really took to the track on first listen. The song has this easy strut to it. Paced to perfection with glorious vocals.
As if to throw us completely ‘Shoulder’ opens with sound of lo-fi guitar which breaks into a jangly almost Cure sounding riff. The golden tones of Sonia Gadhia do the heavy lifting on the track elevating this song into the clouds. The chorus is ridiculously catchy, I have been whistling it for days now. I can see this getting heavy airtime. Their voices are a perfect match.
More guitar features on ‘Who You Are’ and again a wonderfully simplistic guitar line dominates this track. There is some thing unerringly charming about his choice of guitar parts. None of them fight for your attention within the song. They are there to service the sog and compliment and augment the vocals especially. This new approach to his music is really agreeing with Hwang. I can just imagine him smiling ear to ear whilst performing this one.
‘Next Time’ brings the pace right back down again and we are back in synth heaven. Sounding like it has been recorded using an eighties Casio keyboard it feels really authentic to the decade. Whilst it is undeniably retro there is an unmistakable CASTLEBEAT stamp on show.
Tapping into the Stranger Things fervour has proved successful for a number of modern dream pop acts and on ‘Part’ Hwang throws his hat and heart into the ring. This is widescreen songwriting at its best. The song delivers a cinematic experience start to finish as well as chorus which delivers the deep emotional impact of any of your favourite soundtracks.
‘Worries’ has back on guitar again but not as you’d expect it. The guitar itself is warped out of shape under the weight of multiple effects while a chiming synth taps out a simplistic melody. This song feels like a song The Cardigans would sound great recording.
This takes us into the title track. With ‘Melodrama’ Hwang is seeing just how far he can push the eighties motif. The answer is probably a wee bit too far but the vibe is rescued with a glorious Cure like guitar line which brings us back to the present.
The album closes with Hwang lamenting the ache of long-distance relationships on ‘East Coast’. “Is it any wonder. Why it gets so cold. I’m leaving here without you. I’m on the east coast”. The song reclaims the synth production that worked so well earlier on the album and provides a fitting end to this eighties fuelled odyssey.
Whilst I wouldn’t say this album is as good as his previous works it’s because it stands alone. I love how he has taken risk after risk on this record and I applaud how successful he has been. I will undoubtedly revisit this album again. It has a sunny summer evening feel that will warm up the coming winter nights.
Static Sounds Club 