LONG — FUIMOS ELECTRIC

The hope of warmer days and uncertain love lies in the glittering chimes and laid-back guitar of 'fuimos electric' by New York band long. We start appropriately enough with an audio walk in the park, what with the spring reverb drums and allegretto bass, the sun-summoning bossa-esque guitar chords. Lilting vocals weave themselves in: “Fuimos al parque / para conocernos un poco más...”¹

Lyrically (in Spanish, in case you didn't notice) the lines shift between statement-of-fact and figurative, such as “me mirabas como el río”² — the poetic contents of the heart wrapped in city-flavoured indie pop packaging.

The song grows in vignettes parallel to the love story told by the vocals – meeting each other in the park, sharing a bottle of wine, not knowing what to say. Before long, we are in a triumphal block party crescendo, crashing cymbals and brass breezily lifting us up and out of the park, out of the moment, to look back on all that has been, joy and more joy still in the unknowable tomorrows.

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¹ We went to the park to get to know each other a little more
² You looked at me like the river

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• 🔔 You may stream the song 'fuimos electric' by long over on Spotify, if you feel like it. In addition, you may see a video for the demo version of the song on YouTube also.

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WET LEG — POKEMON

There is some joy in Wet Leg titling this song 'pokemon' (or should I say Nurse Joy, right?). Mostly because, when 'Chaise Longue' popped into this material plane back in 2022, I never clocked them for a band that'd name a song after this mega-franchise. But that's just a small joy.

Lyrically, the 'pokemon' weaves a low-key less on-the-run Thelma and Louise love story. "Oh, to be yours, to be driving away..." sings frontwoman Rhian Teasdale, painting a poetic picture with cute couplets like

But nothing hits like you and me
"I love you, " I say casually

and

You taste so sweet, like grenadine
You are my favourite human being

There are a couple of references to partying, what with the grenadine (above) and getting "another round". Starting the song with "Get lost, get loose..." feels like an echo of famed rock hedonist Jim Morrison, who utters the words "Get loose!" in the intro for 'Changeling', the first track on L.A. Woman (1971), his final album with The Doors.

A more obscure reference can be found: "Giddy up, you want to go faster? / Call me the demon headmaster" — quite a throwback to a British TV series from the '90s called The Demon Headmaster (it was about a headmaster who was a demon). It is followed by the line that names the song (and another '90s reference): "You just gotta choose me, baby, yeah, I'll be your Pokémon."

Showing how far the Teasdale (and the band) has come, the chorus features a line about driving from Isle of Wight to Tokyo, which is really quite a long way culturally, population-wise, and geographically. Ultimately, it's a driving song, a mood evoked not only through the road-tripping lyrics but in the galloping rhythm of the track, the gleaming guitars like a half-setting sun glinting on the metallics of a car.

The video for the 'pokemon' basically illustrates the thoughts and feelings evoked within the song, except in place of another human being it's about a woman who's in a relationship with a giant egg. Which, incidentally, makes it feel a lot more Tamagotchi-coded than Pokémon related.

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• 🔔 The video for 'pokemon' by Wet Leg was directed by Elliott Arndt (from the band Faux Real, who often support Wet Leg on tour). The woman in the relationship with the giant egg is played by Alice Longyu Gao, who is a DJ, producer and all-round artist in her own right.
• 🔔 'pokemon' is, of course, taken from Wet Leg's much-anticipated second album moisturizer, which was released in July 2025 via Domino. You may stream the album, purchase it in vinyl form or digitally by heading over to Bandcamp.

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MOSHIMOSHI — ANIME THEME

⌾ LISTEN TO ANIME THEME BY MOSHIMOSHI ⌾

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A dynamic pendulum keeps time in 'Anime Theme', swinging between math rock-laden slabs of stabbing, syncopated guitar, bass and drums, and the portions where distorted guitars send out a wave after wave of sweeping fuzz. Gently jagged, no harshness in the fast-paced but digestible acrobatics of the melodies here, the track races along very much like a high-octane anime theme.

Finnish band Moshimoshi summon the sensibilities of early-2000s post-hardcore and the emotivity of emo, complete with punk-flavoured drums and throaty, screaming vocals. Warped by their own force, these screams blend with the guitar, becoming a part of the overdriven medley, providing an extra albeit shattered melody to the proceedings. It bounces, pops with precision, fizzes with energy.

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• 🔔 'Anime Theme' is taken from Moshimoshi's upcoming album GREEN, scheduled for release on 28th April.

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TAMON TAKAHASHI — GHOST OF PROW

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⌾ LISTEN TO GHOST OF PROW BY TAMON TAKAHASHI ⌾

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There’s a richness to the soundscape at work in Tamon Takahashi’s ‘Ghost of Prow’. A swaying sweep of guitar floats through like the slow swell of the sea, paired with brass that peals and tapers with a stoic lilt — a sombre contrast to the evocative guitar solo that ends the piece. The vocals in the Hokkaido-based artist’s track are a hefty pairing of voices that add organic texture to proceedings, the bass smooth and crooning beneath it all.

Ultimately, with its pendulum-esque rhythm, and lavish, illuminated textures, the bittersweet charm of ‘Ghost of Prow’ illustrates the doomful passing of time with a world-weary sparkle.

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• 🔔 Listen to more from Tamon Takahashi over on his Spotify.

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NO LORE — WITH LITTLE LIGHT

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⌾ LISTEN TO LITTLE LIGHT BY NO LORE ⌾

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Poetry in gentle motion. ‘With Little Light’ is just that: ripples of emotive poetry and soft sounds flowing out from a centre of blissful simplicity. Created by Tita Halaman and Jerald Angelo, aka Manila-based sister-brother duo No Lore, the song features vocals from both, a continuous lilting harmony on a backdrop of glassy synth chords and acoustic guitar.

As the instrumental flows on, gleaming and nocturnal, the relatable refrain croons sweetly throughout: “How I wish I’m good at guessing / Oh how I wish I’m always right”; the intertwining of both their voices recalling the vocal duets of The xx, though with warmer instrumentals to accompany them. 'With Little Light' is a tale of emotion, crossing minimalist aesthetics and considered space with the soulful kinetic energy of a live performance.

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• 🔔 You can watch a live version of 'With Litte Light' by No Lore over on their YouTube channel.

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🐣 PATH — WIDESCREEN TREMOLO

⌾ LISTEN TO PATH, WIDESCREEN TREMOLO ⌾

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Hazy and sunwarped, the grinding tremolo at work in aptly named 'Widescreen Tremolo' by UK musicmaker Path provides the jagged cradle which rocks the track into unseen oblivion. A gloopy bass groove hides in the background; so too does a shuffling scuttle of a haphazard beat.

Speaking to yes/no via email, Path talks about the track. "I wanted to try to get that early 90s indie vibe but only using synth drums and synth guitar," he says. "I’m pretty happy with how it turned out."

At the halfway mark, the track diverges into a stream of distortion, guitar stabs glittering and the whole thing a ghostly sort of Stone Roses revist meets HEALTH primitivism and self-destruction, plasma-like vocals crooning out from the drone and dust storm of it all.

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• 🔔 'Widescreen Tremolo' is taken from Path's 2019 album Pianoburger, which you can stream and/or download on Bandcamp if you feel like it.

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🎥 CHAI — CURLY ADVENTURE

In the video for Nagoya-based band CHAI's 'Curly Adventure', curly hair literally becomes synonymous with adventure; the protagonist as animated by LA artist Sean Solomon daydreams the lyrics of the four-piece's thunderous ode to curly hair.

"Long long time ago, my hair is troubling me…" the song begins with singer Mana spinning these hair-based lyrics composed by bassist (and art director) Yuuki.

With the fizzing-crash of the drums alongside a galloping funk of bass, plasma watery synth shoots through this track distorted and fluid all at the same time, a storm of summer-summoning sound; half '90s-remembered sparkly sun-soaked jam, half explosive reaction against the slump of frustration.

Lines in CHAI's song like "curly hair: that is amazing" and "curly hair means being yourself" can resonate with anyone having to alter themselves for the sake of uniformity. And this is reflected in Solomon's video for 'Curly Adventure', with its carefree spirit, popping colours, winding roads and undersea treasure hunts.

Watch it below, obviously.

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• 🔔 'Curly Adventure' is taken from CHAI's 2019 album Punk.

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🐣 THE ENTREPRENEURS — JOAQUIN

⌾ LISTEN TO JOAQUIN BY THE ENTREPRENEURS ⌾

The open road tumbling ahead, the scenery struggling to appear correctly because of just how quickly you're moving along it. This is the sense of wild freedom that explodes out of 'Joaquin' by Danish band The Entrepreneurs; thick bass and guitars with frazzled distortion play rumbling and loose with drums thumping out a frolicking heartbeat. It's a galloping horse, a rushing train, a dog with its head out the window as a car speeds on an open highway.

But you soon realise the song isn't a pure celebration of freedom—it's a yearning for it, tearing a space for yourself in the fabric of the world. The vocals suddenly yell out:

"Feels like / We should / Take a trip outside / See what’s all around / In this part of town / Where the lights are out / And the doors are unlocked at night / And time flies right on by..."

From that moment, 'Joaquin' is more than just a powering engine: it's a heartfelt casting off of a hometown, like shedding skin. It's painful, though it's something that feels necessary. It explodes poetically with the desire for moving onwards, with almost childlike imagery that evokes absurd visions: "Get away / I might just get away / This place is way too small / Standing 8 feet tall in an 18th century hall."

That childlike nature continues into the instrumental itself: the guitar and bass guitar turn playful, pedalling over each other in twists and turns of math rock style arpeggios as the song becomes quiet and introspective as singer Mathias Bertelsen asks, "What comes to the one who stays around?"

And as much as the dreary feeling of trapped in a small town courses through your veins, there's an unending nostalgia attached to it that chills your heart to think you ever wanted to leave in the first place. And this is the romantic soundscape The Entrepreneurs have created: the crushing joy of running free from the only thing you've ever known.

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• 🔔 You can stream and/or purchase the lovely 'Joaquin' by new indie rock trio The Entrepreneurs over on their their Bandcamp. It's taken from their upcoming album Noise & Romance scheduled for release on 1st February 2019. Pre-order also on Bandcamp if you like what you hear.

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🐣 CURXES — THE STARS, LIKE DUST

This is the tightrope walk between nostalgia and a sort of despairing doom, the warmth of uncovering objects entangled with happy feelings yet in the miasmic embrace of the baleful knowledge that it is but a fleeting glimpse into the past; this is 'The Stars, Like Dust' by UK musicmaker Curxes, where the synths skew and fizz with something memorial, the beat – dusty, sharp, abrasive – ticks and stutters with mechanical stamina, where the bass bulges in ominous waves.

Formerly a trio, the now solo Curxes (aka real human Roberta Fidora) herself spoke to us via email to explain the track, which she admitted she wanted to sound "somewhere between ocean and space organ waves." And there is that sense of organic vs. synthetic broiling in the almost living-and-breathing irregularity with how the synths dip and peak minutely but remain zingy and metallic.

The lyrics are desperately alive, calling from this pocket of bright, submerged flavours, this whirling and swirling of sound—the words feel like they've arrived via signals that are lightyears away, rebounding and crackly, crooning with nonchalant distress about "an age of infinite dread."

"The lyrics were written at a period when I felt that the entire country was going through a transitional phase and not for the better, fuelled by misplaced nostalgia," explains Fidora. "I think many of us have our own nostalgia to deal with, but generally it isn't anything that has the ability to distort or disrupt people's lives." And so 'The Stars, Like Dust' is a cocktail of that childhood yearning for the stars and that deathly, adult fear of what we might find there; the reluctant progression of vast swathes of humanity.

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• 🔔 Curxes tells us a bit more about the creation of the eccentrically British visuals for 'The Stars, Like Dust' - complete with triangle sandwiches, a chihuahua, and reclusive behaviour.

  "I worked with portrait photographer and 50s sci-fi enthusiast Rob Luckins to make a video based on our collective love of space travel, which seems to be undergoing a resurgence, maybe because it gives people the hope that they can escape the things to which they don't belong."

• 🔔 This song is taken from the 2017 Curxes album Gilded Cage.

• 🔔 You may stream and purchase 'The Stars, Like Dust' via Bandcamp.

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🐣 MEN I TRUST — I HOPE TO BE AROUND

Much like the wispy incense smoke of the last time we heard from the Montreal trio, Men I Trust have created a delicate soundtrack to daydreaming in 'I hope to be around'. Key to its success as wonderful song are the four elements that comprise it: the bass plays plasma-textured, deep and modulating, this what is essentially a rock bassline, brooding in pentatonics; its string sister the guitar is an occasional ripple on the surface of a glassy pond, wobbly, cold and clear all at the same time.

The drums tick throughout toeing a line between meticulous drum machine and '60s minimal, thin and precise. And the vocals – wide and whispering and wistful; the Three W's of Wonderful – send this wraith of swirling around your head, the lack of variegation and the lack of range, as well as the repetition, make this a haunting mantra, its gaseous nature slipping into your ears and turning your thoughts to tomorrow and yesterday and nowhere ever all at once—"I dream of my future / Remote from time bounds / Becoming myself / Without any end."

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• 🔔 You may download Men I Trust's lovely, thoughtful track from their bandcamp.
• 🔔 The video for 'I hope to be around' was conceived and directed by the band themselves. "We filmed the music video in Montreal’s beautiful neighbourhoods and landmarks," they explain, "of which many seem to be frozen in time around the end of the 60’s."

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🐣 NITEROOMS — HEADWAY

One of our favourite tracks of 2017 so far now and yeah that's 100% sincere and it's this track by South Wales trio Niterooms. What makes it so interesting? Well, there it isn't just the atmosphere of the track—that in itself is intriguing, a swirl of a picture so melancholy so swooning sad, but at the same time so interestingly done, so nuanced, that it cannot be called simply sad but needs to be addressed for its tight and stylistic attention to detail. The drums tap and tick, thump and thud with all the laid-back authority that trap-infused percussion commands, helped into a realm of oozing monochrome and disappointment by fantasy guitar that twangs and resonates all liquid oblivion. The basic effective dynamic achieved by removing the hi-hats and letting the beat click naked in a tide of sub, the structural ease of it calms the spirit, nothing to remember, nothing to challenge, only a story to hear, a painting to be engulfed in.

Niterooms are from Brithdir, "a small forgotten mining town in South Wales," and fittingly their music sounds like that of something forgotten, something discarded, something glittering and vital left at the bottom of an empty well, the tatters of a dream now whipped into some semblance of being by sheer emotive energy. Whilst a "band" they manage to create the same soundscapes that you'd hear in Drakean pop, that sort of post-R&B trap-flavoured sound with confessional lyrics, a candid soul laid bare in the whirls of something dreamy and unreal. The vocals croon low on the brink of despair and in various meters, quick triplets mixed in with slow lines. A clear lament of lost love, sorrow as old as time, like the story of Orpheus that moved even ghosts as he ventured to find his wife in the Underworld.

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• 🔔 'Headway' is taken from the band's debut self-titled EP, which you can stream on Spotify (recommended).
• 🔔 The suitably hazy visuals for the video above were conceived and created by Ed Townend.

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🐣 ROXINY — THE LIGHTS

At first it's like this beguiling machine that's just been fired up, something dusty and proto-analogue, a powerful piece of engineering, some sort of vehicle with which to reach some out of reach place, conceptual locations and sectors of emotion. Firstly you notice that synth don't you, modulating like an off-balance spinning top, some sort of antique Beyblade, but in its true actuality is something like a benevolent swarm of bees – like ideas lit up and in motion – buzzing and bustling brightly and busting speakers with a tape delay sort of sound, warped but warm. It's called 'The Lights' and it's by NYC-based Dominican-born Roxiny, "granddaughter of a revolutionary who helped mobilise against Dominican Republic dictator Rafael Trujillo."

As it builds with all its added elements into a refraining mantra, this song whirls with intensity. The constancy of the buzzy bee melted synth chords, laying a simple progression down like a veil over the song's backdrop, keeps it ticking over, jostling like electrons heated up, the noise of potential energy, whips the track into a frenzy by the end. In this supercharged soup we also find a sparse vintage beat keeping time from somewhere in the past, as well as guitars that slapdash and croon metallic, raw and unadorned. But it is the voice of Roxiny, with its intimate glam-garage-rock echo, the movement from lulling tones smouldering to yelling loud fiery powerful, it is this that drives the machinery, adds lightning to the growling tumult of clouds growing on a bluesky horizon, a hazy forward-march.

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• 🔔 'The Lights', which is a free download as you can see from the SC embed above, is taken from Roxiny's upcoming Rituals EP.

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🐣 DRESAGE — CENTER

At first listen this seems like a regular indie pop sort of song, you know, but there are touches to it that are unexpected, gorgeously so, and that's when you realise that actually there's a lot going on here—it's a cocktail of sound, a blend of different flavours that help to create this delicious unpredictable morsel of music. Called 'Center' it is this word that indeed places itself at the centre of this song, the word skipping in the choruses as sung by its creator, the LA-based Dresage. It's her vocal that adds one seemingly ill-fitting element to the bounce of the track, with her bright tone and swing rhythms and flitting melody, it is the epitome of breezy soul, best accompanied you may think by slapdash sixths and sevenths on a nylon string guitar.

But that is not the case here. The carefree spirit of her vocal pirouettes and leaps through the French touch infusion of the slow simple beat – the same robust kicks, the same semi-abrasive snares – through the rounded gloops of bass synth that nod in syncopation, simplistic and VGM-conjuring. It has this happy-go-lucky dewy green grass feel. Yet more elements subvert this: cuts of her own vocal breathy and whooshing rise up and down like a boat jostled by choppy waves, an inkling of glitch; and the most brilliant touch, a cluster of high-pitched tumbling piano, instant frosty chill in its twinkling notes, its far-reaching reverb garnishing the track with airs of melancholy; bright synth chord stabs that shock you awake with their plasma beam stridulation. 'Center' doesn't actually inhabit a central point, but instead is the things that orbit it, the influences and audiophilia on and of the musicmaker herself evident in the different moods it can conjure.

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• 🔔 Little bit of trivia for you: Dresage is also human person Keeley Bumford who has, amongst other things, contributed to the Bayonetta 2 soundtrack with the official theme for the game 'Tomorrow Is Mine', so there you go.

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🐣 EINARINDRA — SWEET HONEY FLOWS

This track is a proper little journey, a progressive electronic symphony that twists through darkness with snaking smoke twisting curling caught in angular spotlights that make cones of the thick whitegrey clouds, pulsing and strobing in time with the offbeat percussion that booms clicks and ticks for the duration. Fittingly it's called 'Sweet Honey Flows', the words which Reykjavík-based artist einarIndra sings in the choruses of this dark minimalist electronic pop song, accented with undeniable kinetic energy – but slow, aching – from its offbeat trip-hop foundation.

Synth plays a big part, fizzing and softly soothing at times, a great backdrop for the crooning vocals, both of which float into the voidsomeness going on here, the emptiness that sloshes all around and that ebbs and flows on all sides of the islets and crags of sound, a tide of dim spaciness that gives this track a moody somewhat sultry atmosphere—reminiscent of James Blake, for instance. The simple intricacy of the beat is something to get latched onto as well, with interesting rhythms between the alternating sharp sheen of the hi-hats and the full-bodied smash of snares and the thudding kicks playing in rubato triplets. It rises up later, progressing as it does into a tract of fairly intense synth buzzing and striking soulful strings, but it is restrained, maintaining its neo-noir cool, its nowhere romantic despairing flavour.

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• 🔔 This wonderful track is taken from einarIndra's Unravel EP, released at the beginning of August by champions of electronic music in Iceland, Möller Records. You can purchase the EP for €5.16 or more from Bandcamp.

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🐣 LEXI THE LEXICONIST — I MADE THIS FOR YOU

The first loving touch of this track is that guitar, those sun-tinted chords that sweep deliciously, an all-seeing eye of jelly-bodied chillment and curling slumber with its lounge jazz flavour, the fingers slowly sliding on the strings mellow and breezy yet sultry and moody, light and sophisticated, two interrupted whiskies waiting on the veranda with ice sweating and the full length gossamer drapes fluttering like slow-motion ghosts and the long shadows cutting up the glow of light on the marble floor. 'i made this for you' is already artfully atmospheric with its jazzy sixths and sevenths reverbing into the neardistance a slight decay gently warping its clean sheen, dripping with warmth and sun and skin-sapping humidity.

The vocals of New York-based Lexi the Lexiconist enter the equation, the tone of her voice like rich silk rippling, the way her words tail off, the echo of it, the soft whispering velvet washing into the silent voids of the song. A trap flavoured beat adds slo-down percussive kinetic energy to the languorous veils of mist that the vocals effuse—created by producer kloudbeats these soft solid bumps are soaked in muffled vintage lo-fi, this contemporary sound poached in a gorgeous cocktail of yesteryear, the kicks dusty thudding, the hi-hats distorted tip-tapping rattling, the snare clack emptily resonating across this simple scene of love and lassitude. And at 2:33 the bpm decreases and low pitch-shifts accompany Lexi's vocal, sub-bass quakes rumbling beneath this new sense of slowness and silence, hearing your own heartbeat in the push and pull of passion, plumes of pastel smoke erupting in a someplace of pleasure.

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• 🔔 Collect some of Lexi's music on Bandcamp.

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🐣 NEBULAMIGO — DISTANCE

The ripples on the surface of a body of water glittering crystalline sheen more like molten metal than water, the guitar arpeggio that bounces with a misty pallor summoning these gleaming scenes gurgling with reverb each string glinting with indie jangle into a traversable rip tide of thudding uptempo kicks, and caught in the momentum tumble somersault into the wash of haze and hallowed heavenly harmonies that fly and fall with far-off warmth, heavily effected later in the track bubblesome and wobbly, all the time with the bass so lean and rounded and rolling forward with semaphore fills and flourishes, stretching to meet the jogging pace of the beat.

The tick-tick-tick of metallic sharp hi-hats alternates between the kicks and the lo-fi dull thud snare hits and the rimshot accoutrement that adds textured tangle to the beat, a simple complication that adds an air of technicality to the proceedings. How the veil of dreampop falls away from 'Distance' nearer to the two-minute mark, rapid garage post-punk palm-muted chords judder silkily and takataka hi-hat rattle and a nocturnal slice of guitar noodling lends itself again to this pace, the speed of the track, Nebulamigo making it breezy but intense and only in a somnolent summery sort of way, all the kinetic energy of pogosticking but with such swathes of sunny lethargy imbued in it, the pallid bleach of sunlight its washed out halo.

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• 🔔 'Distance' is taken from the Long Beach, California band's recently released Talk in Roses EP. The six-track digital offering can be downloaded for a paltry $4 if you would like to do such a thing.

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🐣 SHE TALKS SILENCE — SORRY, I AM NOT

The pace of this one, wow, listen to it zoom along, the pace of it, the skirling skitter of the drums, the frenetic pace of it, the satisfying metallic crash and scurry ding-shkr-shkr-shfshfsh-shkr the sword from the sheath sharpness of the hi-hats bounding along with lightning steroid bounce, ultra-jazz, twitchy, the drumkit equivalent of popping candy with the raw fizz of the snare alternating with the pecuniary metals and the hearty thud of the kick. Supra-drum-and-bass intensity. With this Tokyo music entity She Talks Silence mixes a mantra of viscous liquid guitar, collage snaps of plucked bass, layered over each other in a dark refraining tract of atonality. 'Sorry, I Am Not' is this rattling beat, these unrecognisable patterns of notes.

Throughout the careful leftfield punk of this track vocals add a spooky threatening element to the speed of the drums and the off-kilter glitter of the guitar sounds, words sumptuously chewed as they are sung, whispered and caressed as they slow dance into the bristling thicket of percussion that drives this track along. Surprise element when a lo-fi guitar chord jangle kicks off a segment of the track that features moderate bass acrobatics and a turnabout of vocals and a more jogging-pace beat to go with the jangle, the tones colourful, sunny, but with whips of guitar distortion we find ourselves again in the storm and stress of the sprinting drums from before, the ghostly vocals whispering words in your ear once again.

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• 🔔 It is the opening and title track of Sorry, I Am Not, the new She Talks Silence album released today (5th July) via Shibuya-based record label AWDR/LR2, in association with similarly located label/mgmt/distro entity SPACE SHOWER MUSIC.
• 🔔 The brilliantly conceived abstract video for 'Sorry, I Am Not' – a frenetic flurry of feathers as well as transparent overlays that fits the zippy beat and lo-fi indie quality of the track – was created by Minami Yamaguchi aka the person behind She Talks Silence.

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🐣 DOWNHAUL — HOW THINGS WORKED OUT

A story told in an intricate web of lyricism, weaving guitars, gymnastic bass and skilfully skittering drums, 'How Things Worked Out' arrives from Downhaul, a band from Greensboro, North Carolina. "So now we've got even less to show for all these years of whatever we haven't been"—the track speaks of something that was, now slightly faded in the light of present day, confessional, observational, rambling and revelling in minor but memorable details. From the very start, after a string of distorted chords and drumbeating, this is apparent: "I took your phonecall in my parents' unfinished basement."

When it's not effusing melodies math-rock-style fretboard-somersaulting, the guitar is warm, with just a little bit of grit from fuzzy distortion; in this latter way, in singular chord sweeps, it works with the slow jangle of the bass and calm smartly tuned drums to cushion sad lines like, "Well no one in my life now would even recognise your name," whilst at the same time the space afforded by these calm sections allows for the lyrics to hit bullseyes. At other times the lyrics are not necessarily sad but recognisably awkward and funny, as in "I drive an extra two-and-a-half miles east just to avoid the bank where your mom works, and I know it's total vanity to assume she had even the slightest clue as to who I am but that's all I got."

A tale of love gained, misplaced, and kindled as a set of memories and awkward constraints of movement and meeting, with all the embarrassment and half-obsession that the modern age affords, this is a post-post-breakup anthem in the form of a message never sent, strewn over the surface of this dynamic, rhythmic, melodic sea of sound.

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• 🔔 Did you like that as much as we did? If so, you'll be probably happy to learn that it comes from Downhaul's very recent four-track EP, About Leaving. Featuring three more songs, it's an extension of the sound of 'How Things Worked Out': calculated guitars, crackling distortion, jostling drums and all the everyday colloquial poetics you could ask for. You can listen and/or purchase for $1 or more at their Bandcamp.

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📠
☟ Downhaul Internet Presence ☟
facebook ⚘ bandcamp ⚘ instagram

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🐣 CLAESONS — ACOUSTIC PUNK

With a title like 'Acoustic Punk' you might imagine something like a cross between gentle acoustic music and the noise of punk. If that is what you imagined whilst reading that sentence then, well, it's correct. This track by Swedish music unit Claesons is a combo of these two ideals, a bright blend of acoustic—no, almost chamber music, classical-style, new and experimental; of this, and of something closer to the quirky DIY of garage indie than punk. It's a mix of rough and smooth, beauty and energy.

The plucked guitar that begins the track teeters on mournful and in the same cyclical style as that guitar piece Romance, you know the one, cello solemn beneath, but soon leads into a thumping beat punctuated by the occasional crash of a cymbal, the main vocal floats in slurring and soaring, other voices haunt chorally above, all in all a sound like a cold gale, something internal externalised. The outro appears, long and languorous, a pinging guitar melody, soft piano, yet struck like distant lightning with peals of distorted guitar, disappearing into the vapour.

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• 🔔 This is from Claesons album V.V.V.V.V., due for release on 28th April via Swedish label Lamour.

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📠
☟ Claesons Internet Presence ☟
Facebook • SoundCloud • website

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POST LOUIS – FRAGILITY (BEN HAUKE REMIX) • 初演 PREMIERE

Here is a remix of a song called 'Fragility' by London band, Post Louis. The original is something like a jagged escape to the country, a slice of guitar-led music that switches between slap-dash fuzzy sounds and melodic softness, a kind of art-pop indie feel that is many things at once, crashing beast morphs to curled-up cutie, as wonky and experimental as it is gentle and ear-friendly. You get the idea.

This remix is something else entirely. A different beast. Altered Beast. Another World. It is ultra-cool. Tiptoeing a tack that summons a smart and angled atmosphere, perfectly designed, intelligent and snappy. Sharp white-noise hi-hats count liberal time in the condominiums of the future in Ben Hauke's fabulous, glistening reworking of 'Fragility' – understated handclaps sneak in past the 10-foot-tall steroid-infected bouncers (don't worry about them, it's much better inside, you'll forget all about them, sit down, have a cocktail, it's on us).

A bassline with all the treble sucked out of it bounces the track along, lightly guided by the subtle boom of the kick, horn snippets rising through the walls like phantomatic, melodic car horns, quiet bongos veil like a mist as the alcohol begins to kick in – STRINGS, spectral strings, this is a sophisticated party after all. Vocals, messed with, submerged and surfaced and reverbing, chopped and thrown around, the iridescent lights catching the fluttering voices of people in the midst of this understated yet unrelenting dance-inducing track.

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• As you can see from the lil arrow, this is a FREE DOWNLOAD. Isn't that nice?
• This (well, the original) comes from Post Louis's Uptight EP, which you can check out on their SoundCloud.

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☟ Ben Hauke Social Media Presence ☟
Facebook • SoundCloud • Bandcamp • Twitter

☟ Post Louis Social Media Presence ☟
Facebook • SoundCloud • Twitter • Tumblr • YouTube

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