Scroll less, stroll more

Ding. The weekly notification popped up on my phone. “Your social media usage this week was more than last week.”

To which my default response would have typically been along the lines of “would you ever feck off with yourself” until the other day when I noticed that my usage had spiralled by a whopping 60%!

What the actual … ?

“How can that be?” I moaned. Until I remembered a ‘throuple’ of marathon WhatsApp sessions the week before.

“Oops. Not good.”

One thing I have noticed, is that when I am down in West Cork, to which I am a frequent flyer (well, trainer and busser), my social media usage plummets. Why? Probably because I spend so much of my time there immersed in nature. Rain, hail or shine, I’m out there, hiking up cliffs, toiling up vertiginous pathways (Tanyard Hill anyone?), making notes about seasonal plant growth (plans for a book), strolling on the beach and generally admiring the Galley Head lighthouse from every possible angle.

And, when not communing with Ma Nature, I can usually be found communing with the multi-coloured members of my family – every shade of personality from coimhthíoch to chiúin to craic (bordering on bonkers). 

So, as being present in the moment in West Cork is not an everyday option, I decided to make several changes to my online behaviours in a bid to address the sixty per cent increase in my social media usage, the first being switching my phone to Flight Mode when out walking. Yes, this comes at a price – no access to BBC R3 or non-downloaded music on Spotify. Conversely though, this small change has achieved the added bonus of my actually being able to spend some time outside of my own head, quietening my mind (a bit) and enjoying the sights and sounds through which I pass, be they in the nearby park, by the river or simply on the pathways of my local area.

Next move? To silence the endless ping-a-ling of incoming messages, of which a large portion typically contain stupid cat videos along with a litany of those ironically named ‘funnies’. The type of trite juvenile humour we used to find uproariously funny as goofy school-kids. Ahem, yes you, guilty as charged; you know who you are.

Needing to emerge from the time devouring black hole that social media has a habit of becoming when we allow ourselves to fall victim to its algorithmic charms, I decided to act on the advice of a younger, much more social media savvy mate.

Opting out of the ‘Last Seen Online’ setting on WhatsApp is one of the best things I could have done. This deliberate removal of the “Open for Business” sign has resulted in a serious dip in traffic to my feed. Before, my contacts could see when I was online, and this typically resulted in rushed “while you’re there” texts which more often than not descended into a frenzy of ““did you hear”, “did you know”, “did I tell you” messaging mania” involving multiple ????s and !!!!s as well as a wide variety of 🤣🤪😉 and 🙏🏻. To complement that move, I’ve also silenced notifications to my phone.

Five days in and the silence is very golden.

Even better, I’ve noticed that I’ve stopped looking at my home screen every other ten minutes to check for incoming messages, mail or whatever. I’ve learnt to put the phone down and ignore it for long periods of time.

As for the platform fka Twitter, I’ve unticked all notifications bar the bare essentials. I’ve started ignoring all notifications on Insta bar those which are DMs from people I know and unsubscribed my gmail account from a string of ‘sales mail’ that’s been blocking up my inbox like lard in an artery.

While all of the above changes have worked a treat, I can say without any hesitation that the best move I ever made in terms of changing how I interact with social media was to delete my Facebook account, which I did around this time last year. 

Too noisy, too cluttered with rubbish ads, to showy-offy, too many photos of friends of friends of friends in whom I had zero interest – as the Americans say, enough already. 

For some reason, I always found FB rather competitive, almost as if all these people who were friends-not-friends, most of whom had never even met each other, were in a constant battle with one another to see who could garner the most likes, live their ‘best lives’ whilst deploying an endless barrage of ‘surgically enhanced’ photos of their seemingly non-stop social butterfly lifestyles.

Fun fact: some ten years or so ago, I attended a blogger conference during which one of the guest speakers, supposedly a hugely popular Insta Influencer, stepped up on stage and opened with the line – “It’s all about the likes, folks. All about getting the likes”. Which is why Insta and its sister platform FB are such very toxic environments for impressionable tweens, teens and young adults. They must get the likes, have an ever-growing list of friends, post over-the-top super filtered, mega photo-shopped pics and pout til they drop, or until they develop RSI leaving their mouths like a frozen trout in perpetuity.

Without doubt, social media is an addictive, mind bending, often life-altering quagmire, where reality becomes muddied by mis and disinformation. The average Joe spends 150 minutes a day on social media – two and a half hours during which attitudes and views can be changed, friendships can be made and broken, and intelligent, respectable people can be eviscerated by armies of extremist looney tunes for stating a fact-based opinion.

While by its omnipresence in the modern world social media is an inescapable necessity, we can make small changes to how and when we use these tools and platforms to ensure that we optimise the benefits and minimise the negative impacts including stress, paranoia and mistruths.

To leverage modern parlance, the key is to ‘own’ your usage; to control what you actually view as opposed to letting the algorithms make the decisions for you. We need to remember that devices are technological tools designed to help make our everyday life easier. They are not comfort blankets, neither are social media platforms our new BFFs.

At the end of the day, the real tops the virtual. In the words of Shakespeare, “seeming is not reality”. Often what we see, read or hear on social media platforms is a distorted or misrepresented version of the truth. Now, with the advancement of AI, that distorted reality is about to become a whole lot shadier.

To stop social media apps from manipulating us, we need to take back control of our time, our tech and our ability to live in the real world. There’s a time for stupid cat videos. There’s a time for feverish exchanges of the latest goss on WhatsApp. But that time should be minimal. Instead, our time should be focussed on meeting with, and talking to our real friends, colleagues and acquaintances. On being in nature and enjoying its benefits. On being comfortable with our own company, without the need for constant social media ‘reinforcement’.

Conversation flows more freely when we are looking someone in the eye, can see their facial expressions, can read their body language.

Life is more enjoyable when people can chat, smile and laugh together, rather than relying on  emojis to convey how their company makes them feel.

What can top the dopamine hit of a good side splitting laugh or the warmth of a tight hug?

So, while I won’t be deleting the few social media apps I still use any time soon, I have seriously curtailed how and when I use them. Instead, I have followed my instincts to scroll less, stroll more. I have upped my social ante, going out more, gigging, returning to the book club, organising coffee dates and walks and generally living life the good old fashioned way, because in the words of that ever eloquent purveyor of flannel, Mark Renton, I’ve decided to #chooselife

Discover Ireland – Irish Music Under The Microscope

Talos – Photo : Olga Kuzmenko

At a time when worldwide music sales continue to decline notwithstanding the ‘great’ vinyl revival and continuous rise of more online music platforms than behoves the industry, the resounding success of the current wave of artists making up the Irish scene is quite the quirk in the global musical landscape.  It’s almost as if many of our current crop of artists are creating music both in and for a parallel universe, such is the remarkable quality, unorthodox nature, and uncharted ingenuity of their idiosyncratic outputs.

But just who makes up this ever-growing Celtic tribe whose unquenchable creativity knows no populist constraints? Who are the Irish artists currently gifting us with a wealth of musical treasure; unpolished, untarnished, glistening in its rawness?

In the first of a new ‘Discover Ireland’ series we look at some of the Irish artists who are not just sealing their credentials on the local landscape, but whose sound is in such stark contrast to that of the current flock of vanilla chart-toppers that they are making international industry veterans sit up and take notice.

Photo of Catherine Mc Grath Uncredited

In part one of the Discover Ireland series, we put ten artists with varying degrees of success under the microscope, finishing off the piece with a tailored Spotify playlist which you can follow or from which you can select a pick n mix to add to your own homespun choices.

Who? HUDSON TAYLOR, Unsigned folk duo from Dublin made up of brothers Harry and Alfie HT. Already have a huge online following as well as a couple of releases under their belt.  Around since 2011, they’ve been steadily building a solid fanbase for their ‘bro-brand’ of acoustic folk, although pegging them into the ‘folk’ hole makes them sound more twee than their pop sensibilities would allow.  Currently gigging whilst working on material for their sophomore album.  2017 should see them considerably up their musical game including stints at several of the big Summer festivals including Wilderness.

Who? THE ELATION, A Cork four-piece who share a love of “Music, Travelling, Writing, Recording, Performing” in any order you care to throw at them.  While they name-check both Kodaline and Hozier in addition to forerunners of the ’80s alternative zeitgeist Talking Heads, it is probably Brit Award Winners The 1975, also referenced, to whom their sound bears the most resemblance.

Debut release ‘Xo‘ is like a mashup between the Mancunians (think 2016 hit ‘The Sound’) and a combo of Haircut 100 and Aztec Camera flying the ’80s funk meets new wave flag. All funky foundations and groove bass floodlit by iridescent synths and fuelled by a healthy dose of blood pumpin’ beats.  They’re only at the start of their voyage and already the future looks XoX.

Who? TALOS, Experimental music project of another Cork native, Eoin French. Like the trademark slow builds in his songs, French has been gathering followers along the winding, visionary roads of his continuous musical travels since Talos’ inception back in 2013. And, like the fantastical zeniths of some of his more audacious compositions, 2017 looks set to bring its own dramatic highs when the multi-instrumentalist releases his debut album, ‘Wild Alee’, through Feel Good Lost on 21st April, the same day as his upcoming Irish tour kicks off in Dublin’s Button Factory. Full details on his FB page. Check out the official video for his current single ‘Odyssey’ here,

Who? CATHERINE MC GRATH, Co. Down born London based 19 year old hailed as the new Taylor Swift. There’s plenty of Taytay pastoral-pop ‘fluences going on but Catherine’s sound isn’t without a touch of LeAnn Rimes and Trisha Yearwood.  Leaning towards Nashville for its stylistic direction Mc Grath’s vibe isn’t without its pop sensibilities.  Plenty of finger-picking to keep the double denimers happy yet enough soft-pop to steer her into the mainstream flow.  New single ‘Starting From Now’ was released on 10th March and judging by the Spotify count (66k+ in its first week) is gonna seal her fate as one of the Taylor-type stars of the not so distant future.

Who? BURNT OUT, punk cum rap cum ‘wherever the sound needs to be apropos the moodscape’ kinda band from North Dublin.  Two songs in and already the media big cheeses are drooling.  Their latest, ‘Joyrider‘ is full on Roddy Doyle without the laughs.  Don’t be put off by the heavy-set Dublin vocals, this is more ‘mission statement’ than song.  Tackling Dublin ‘street’ culture with its inherent notion that violence, intimidation and general ‘gittery’ define current day inner-city masculinity, the song seeks to highlight the destructive influences this lads mentality has had and continues to have on young Irish males.  Social commentary doesn’t get more unequivocal than this.

Who? TOOFOOLS, “the brainchild of multi-instrumentalists Steven McCann & Lorcán O’Dwyer”. These Dublin based BIMM alumni are the cog around which many collaborative projections are formed.  While the pair are the project’s masterminds and its only permanent members, they onboard a cohort of fellow musicians to flesh out their live performances.  There’s a lot going on here and like many of their peers, TooFools aren’t foolish enough to box themselves off by sticking to a readily labelled style or sound.

There are some similarities with Norway’s chillwave, feelgood pop scene (yes, it is a thing) where the likes of Lovespeake reign supreme and like their Norwegian counterparts, TooFools muddle gold standard ingredients – funk, retro soul and Tropical pop accessorised with an infectious falsetto – to create a year round Summer sound full of rhythm and sway.  The only single released thus far, ‘Touch’ is a bloody good example of golden sounds with an expert touch on production. TooFools have hopefully, started as they mean to go on. Top Notch.

TooFools @Button Factory Photo: Claudia Verdecchia

Who? SOULÉ, Balbriggan native whose urban with a touch of class sounds are fast gaining her industry-wide recognition. Astonishingly, this part time musician cum student had her first single, ‘Love No More’, nominated for a Choice Music Prize. Soulé is one of a growing number of artists utilising the Dublin based collaborative hub Diffusion Lab and when not studying, can be found there working on new compositions, songwriting being a way of life since her childhood days.

This upcoming talent cites a plethora of influences from Macy Grey to Nineka but one can’t help recalling greats like Aaliyah, Caron Wheeler and Paris Grey as you listen to the Dubliner’s latest single, ‘Good Life‘ (even the title is redolent of what many consider to be the Inner City frontwoman’s finest hour). Creating sounds that cross over from classic soul and R&B to beat driven electronic pop,  Soulé has nailed a fresh take on tried and tested formulae.  Possibly one of the most exciting talents on the scene, get to know her before she goes global.

Who? EDEN aka Jonathan Lei Ming or the next Hozier.  The 20 year old Dublin multi-instrumentalist and vocalist extraordinaire has repeated the impossible already achieved by the Bray man by going from zero to hero without even breaking into a sweat.  In a minute period of time, he has garnered 135k followers on Spotify alone.  How the hell? Whelans bedamned, this genius of EDM dance-pop sold out prime venues from NYC to LA to Berlin and more taking in 43-dates last year alone, and as if that wasn’t wow enough, has signed up to team SB – Scooter Braun – manager to Bieber, Usher, Ariana Grande & various other elite members of the gilded world of music US stylee.

Suffice it say, we can safely assume that Eden has ‘arrived’.  His seven track mini-album, I Think You Think Too Much Of Me’ from which ‘Sex‘ is the opening track, received nothing but five star reviews for its lo-fi perfect blend of wilful electronica and smooth R&B. Move over Andrew, the new kid on the block is moving into your star-filled stratosphere.

Who? BONZAI, another 20 something about to set the world on fire.  Originally hails from Wicklow now living in London, this newbie cut her teeth with Guernsey born electronic producer Mura Masa, something which not only stood her in good stead but got her name very much in the frame.

Another crossover artist who seems to have allowed a myriad influences seep under her musical skin without the prerequiste labels, Bonzai’s style incorporates everything from grime through Brit-soul to sophisti-pop. There are, for example, some interesting nuances of Simply Red (Fairground) on the intro to the track ‘Stepping‘ from her ‘Sleep Hungry‘ EP.  Gigs and festival slots are stacking up nicely including a stint at Dublin’s District 8 weekend 25th March as well as sets at Parklife and Blissfields.

Snatched up by Colombia records, this Irish innovator is yet another firework set to explode onto the international scene.

Bonzai Uncredited

Who? LYRA Last but by no means least, this London based Cork native (yes, another one!) recently scored perfect tens all round when she delivered a blistering, high-octane performance on the Irish version of Dancing With the Stars – watch it below. Whilst comparisons with Enya and Marina Lambrini Diamandis (of The Diamonds fame) are not unfounded, for me there is more of an affinity with the wilful instrumental theatrics and free spirit Baroque pop of Florence Welch.

Her four-track debut EP, ‘W.I.L.D’, released in 2016, includes current single, ‘Emerald‘. The song, which is about remaining true to oneself, is a compelling fusion of intangible other-worldliness and widescreen warrior style instrumentals that could have led the charge of Queen Medb into Ulster, in which Lyra’s demi-operatic vocal delivery in the mould of Kate Bush, is an octave sweeping triumph. Currently riding high in the iTunes Top 10, Lyra is currently notching up some super cool dates for her Summer calendar including the biggest UK emerging artist showcase, TGE – The Great Escape.  Doubtless great things await for this unique and exceptionally talented songstress.

From melodramatic High Queens to the stark black and white realism of on point social commentary, crossing hip hop, soul, EDM and folk, this is Irish music in Ireland 2017.  Check out the first cut of my Discover Ireland playlist here … follow if you like.  You’ll find me on Facebook and Twitter @DervSwerve.  While you’re listening to the playlist you might check out Ireland.ie, the new Creative Ireland cultural website and portal to Ireland.

The Discover Ireland series will continue showcasing Irish music fortnightly.

As Far As I’m Concerned, ESO Are Beyond Impressive

eso-nov-2016-by-christian-zervos
eso-nov-2016-by-christian-zervos

Sandvika natives, Einar Stray Orchestra are to indie music what the Divine Comedy are to alt-pop.  In fact, with his suave baritone and predilection for quirky, on-point lyrics and gregarious, orchestral manoeuvres, Einar Stray is for all intents and purposes, the Norwegian Neil Hannon.  Tbh, I can’t help fantasising about what spectacular sonic soap-operas the pairing of Stray with Hannon could magic-up … ah, one can dream.

Einar Stray’s five-piece ‘orchestra’, for orchestral they are, have just released ‘As Far As I’m Concerned‘ the second single from their upcoming album set for a 2017 release via Sinnbus & Toothfairy.  The follow-up to 2016’s ‘Penny For Your Thoughts’, it’s a lavish affair, awash with resplendent string sequences, bright vivacious melodies and smoothly manoeuvred time changes underpinned by dynamic contributions from the R/S.

Vocally, the sweet lightness of Ofelia Østrem Ossum’s soft mezzo is the perfect foil for the dark shade of Stray’s rich baritone, while lyrically, this cleverly worded opus centres on the theme of the fear of change. “The fear of turning into someone the old you despite. The fear of throwing your life away going in the wrong direction. Moving forward can be terrifying – yet it’s the only way.” 

ESO have announced an upcoming European tour kicking off in one of my favourite cities, Vienna, on 13th April. The tour will see them play countries such as Switzerland, Belgium and the UK amongst others but alas, no Irish dates seem to be on the cards! ESO are however lined-up to play Norway’s Trondheim Calling festival and for those of you who like me will be lucky enough to grace those snowy paths from 2nd to 4th February, full details of the artist schedule and conference programme are here.

2017 also sees the release of Einar Stray Orchestra’s third album, which, if the two superb singles are indicative of its overall quality, should be pretty much splendidly symphonic, colourfully creative and in two words, beyond impressive.

Full details of ESO’s tour and their upcoming album release can be found on their Facebook page.  Follow them there and on their Twitter page to keep up to speed with their musical escapades and a possible collaboration with our own Neil Hannon (well, stranger things have happened!).

To read about my own upcoming escapades over at Trondheim Calling, check into my blog, or hang out here on FB or Twitter.

Heavy Heart Take Stock On ‘The Way Home’

Photo - http://www.rossmcclure.co.uk/
Photo – http://www.rossmcclure.co.uk/

With echoes of Lush casting ‘gazey shadows on its sonic periphery, ‘The Way Home’ is an impassioned piece of stentorian grunge distilled through the psychedelic waters of indie-thrum.  The latest in a line of monthly releases from London-based Heavy Heart, it’s quite the damning retrospective on the ‘annus horribilis’ that was GB 2016, especially if like 16million others, you were in the #Remain camp.

I’m no genius but my default interpretation, based on the lyrics, is that this is an indictment of Brexit and the divisions it has caused, the EU’s response to the Immigration crisis, and the collapse of the “land of the free” courtesy of King Trump and his court of clowns & chassis.

“When the kindest word is hard to find Turning on ourselves and taking sides”

The sense of determination coming from the strident guitar playing  is finely counter-balanced by the dreamy delicacy of vocalist Anna’s nuanced interpretation. An interpretation that belies the thread of disaffection running through the song.

“When the kindest word is hard to find, Turning on ourselves and taking sides
In the end we’re only wasting time, On each other we rely, rely, rely”

There’s plenty of fuzzed up drone and adrenalin pumping verve here to keep both psych-rock and indie lovers happy, whilst the cleverly crafted socio-political poetry should provide sufficient brain food for those who like their music ‘meaningful’.  Topped off with a captivating layer of vocal gauze, the ingredients are blended effortlessly to create a powerful invitation to engage and a striking signal that there is more to explore.

Listen to ‘The Way Home’ here while you take a gander at Heavy Heart’s social diaires

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Introducing Swanlike : ‘Years’ EP

Swanlike
Swanlike

It’s been over a year since I first stumbled upon the impossibly talented Norwegian music artist Line Kasa.  After a long silence on her part, and much “patience” on mine, sorry couldn’t resist, Line is making a much welcome return in the company of her long-term collaborator and cousin Halvor Nordal Strand, with their Swanlike music project.  It’s quite the pleasure to bring you their new EP, ‘Years‘, a veritable sparkling treasure chest containing four diverse, thought-provoking and moving compositions.

Swanlike is the moniker for a project of moving parts, headed up by Halvor and Line.  Like shifting sands, the line up is made up of whoever is involved with the latest collaborative work; its current make up is Trym Gjermundbo, Øyvind Mathisen, and Sarah Nordal Strand.  Hailing from Notodden, in the southern Norwegian municipality of Telemark, this group of young, upcoming musicians have known each other for most of their lives.

years

While Halvor does most of the composing, lyrics and vocal arrangements are down to Line, with the remaining instrumental duties being picked up by the other three members.  The current line up has been playing and recording together for some time now and the ‘Years’ EP is a testament not just to their tightness as a unit, but to their relative ease with each other as a musical partnership.

While project founders Halvor and Line have long been admirers of each other’s music, their first love was for English supers, Radiohead.  Speaking about key musical influences Haldor explains: “Everyone in the band loves Radiohead. Line and I are both massive fans. Also, James Blake’s debut album was a turning point for me. I was, and am, so drawn to his approach to electronic music – with negative space, minimalistic instrumentation and gospel and r&b-influences in the London electronic sound. There are too many to mention but some of my other inspirations are, Frank Ocean, Burial, Jon Hopkins, Røyksopp, Arca, Bon Iver, and Cashmere Cat.

Drawn away from the strum of guitars to the pulsing world of electronica on first hearing Radiohead’s experimental opus Kid A, Halvor developed a fascination for “the sound shaping possibilities in working with synths and computers” and says moving to electronic music was a natural progression.

Inspiration for the the EP came out of a night of spinning Sia and Røyksopp tunes.  Their positive, party vibe triggered the opening note-sequence around which the song ‘June‘ was written. Swanlike craft their songs by using the well-worn ‘forwards-backwards’ system, as geographic location and availability aren’t always in sync and once the music to the single was laid down and Line had added the vocals, the song was finished off with Øyvind Mathisen on the mixing desk of his Oslo studio.

june

The opening track and possibly the strongest song on the EP ‘June‘, is a heart-melting, stirring track about holding onto a good but passionless relationship for all the wrong reasons.  With comfort and security comes guilt and frustration, feelings which Line Kasa’s exquisite vocal tenderly conveys with just the right amount of raw emotion.  While there may be few sparks in this impassive relationship, the instrumental is practically iridescent.  Windswept, radiant synths lines wrap around Line’s vocal in a landscape populated by the shadowy, dark spaces of disappointment and self-entrapment.

While most Norwegian electronica falls foul to the “icy”, “cold” and “frosted” labels, there is such a glow of warmth from Line Kasa’s clear vocal that when blended with such petillant synths, it melts whatever icy edges there are to be had on the instrumental accompaniment.

Delight follows delight as the EP moves onto the bewitching ‘Stones’, which has a slightly more rugged, edgy electronic vibe.  A slow electro-ballad it comes with the twist of a mad scientist instrumental.  A surprising side-order to its otherwise dreamy, hypnotic feel.  At 5.22 it comes in on the ‘extended side’ but it’s a well arranged, imaginative journey through a diverse electronic landscape that should be to the taste of most hard-core electro-fans. Unlike the more contemporary ‘June’, ‘Stones’ was recorded a while backin Trondheim, with the help of Erlend Elveseen.

Similarly, next up ‘New Years’, is an antecedent to the newer compositions on the EP being recorded some years back with Sjur Lyseid.  Speaking about ‘New Years’ Line explains:  “(It’s) a song about feeling empty and having a hard time coping with the stuff in life that is supposed to feel good.”  Spacious, stark, melancholic, there is an almost funereal quality to this track. An organ-like quality to the keys to which sombre bass-clarinet conjures a somewhat pious or reverent atmosphere while angelic harmonies counter the solemnity of the track’s musical foundation.

Book-ending the EP is a small slice of Norwegian delicacy, entitled ‘4’.  With existential themes at its heart and mourning in its soul, it ponders why, years after losing someone who was an integral part of our lives, certain inescapable questions still involuntarily float to the surface of the mind.  Of the song’s brevity Line comments: “I think one of the reasons why this song is so short is that the message is clear and there’s nothing more to say; these questions will never get an answer.”

Notwithstanding its doleful lyrical theme, the song’s pulsing instrumental and energetic percussive beat have a rather catchy rhythm that belie its inner melancholia.

The overriding sense of disappointment, despondency, and confusion that stems from the EPs lyrical content, is perfectly counter-balanced not just by the delightful tenderness and emotional honesty of Line Kasa’s poised vocal, but also by the imaginatively choreographed electronica that underpins it.  Kudos to Strand for pulling off a flawless blend of gloaming and dawn with his ingenious line in synth composition and arrangement.  The addition of drums and in particular the bass-clarinet, give texture and personality to what could so easily have been “ice-capped” electro-sounds, albeit sounds spun with some golden wizardry.

‘Years’ is a rather beautiful and stirring EP, skillfully orchestrated, and arranged with precision symmetry. A journey of dark and light, it is a confident, meticulous, intense and fascinating production that should provide Swanlike with a solid foundation from which to move forward and forge a full album.

You can follow Swanlike on Facebook.  They play Skien 20.11 and Notodden 22.11 and Oslo in early 2017 tbc.  A video for June is on the way, so keep your eyes peeled.  Stream ‘Years’ here – links for downloads below.

‘The End’ Is Far From Nigh for Norwegian Newcomer ARY

Photo AKAM1k3
Photo AKAM1k3

At times there is something utterly otherworldly about the songs crafted by Norwegian rising star ‘du jour’, ARY.  An otherwordliness quickly negated on meeting this young artist in the flesh.  One is immediately struck by her ‘matter of factness’ while simultaneously warming to her self-deprecating sense of humour.

The normality and ‘realness’ that underpin Ariadne Loinsworth, belie the Himalayan imagination and scalable creative engine that frantically whir beneath.  For this creative ingenue is forever composing, writing, scribbling, tinkering, producing and plain old playing music.

Her musical output over the past twelve months has gone into overdrive as her switch from passenger to the production driving seat has put her firmly in control of her own destiny, as it were.

Having kept her fans waiting an incredibly long 12months+ for the follow up to her debut single ‘Higher‘, the Nordic chanteuse sprang a September surprise when she announced single deuxièmeThe Sea’, a cherry-picked soundtrack to NRK’s latest multi-million dollar blockbuster drama series, ‘Nobel’, the rights to which have been syndicated worldwide.

Put that in your pipe …

supervention-2

Now, in a volte face of her modus operandum, Ary has dropped single number three, less than two months later! Another film soundtrack, it’s entitled ‘The End‘ and it comes, literally at the end of the new sports doc, ‘Supervention 2‘.  A wickedly shot, fast paced, sheer vertical drop of a film about sports skiers and snowboarders, it is not for the faint hearted or folks who like me suffer from vertigo!  Watch the trailer, here.

A collaboration with Jonathan Sigworth, ‘The End’ sees ARY at her classic otherwordly finest.  Her bewitching breathy vocal soars, elevating the snow-cold electronica that shimmers and sparkles beneath its pristine state.  With a lofty elegance redolent of the ‘on the wing’ harmonies of ABBA’s ‘The Eagle‘, this track ascends and floats aloft a vast instrumental spaciousness.

Set in a constant state of elevation it recalls the sky-high altitude champion skiers reach before facing the sheer plumb drops down the sides of some of the world’s most majestic mountains.  An intoxicating vocal fused with an hypnotic synth ballet, if I could use but one word to describe this song, it would simply be, ‘beautiful’.

‘The End’ is out now via Petroleum records and can be streamed on Spotify.

In other news, ARY has been nominated for Best Newcomer over at GAFFA.no.  Details of all noms, here.  You can keep up to speed with her ARYness via Facebook & Twitter, where you’ll also find YT – @DervSwerve.  And so, we’ve come to, ‘The End’!

Bayonne’s Crystal Clear Music ‘Appeals’

Bayonne aka Roger Sellers
Bayonne aka Roger Sellers

If you pulled a galaxy of stars down from the night sky and, cast them, as an elfin net shot through with beads of shimmering energy, across a studio of piano keys and samplers, the result would be on a par with the resplendent iridescence that is ‘Appeals’, the latest offering from Austin (Tx) based electro-whizzkid producer Bayonne.   

Waltzing droplets of twinkling starry energia spin and soar, burst and explode in this new fantasia from the Texan electro-oracle, a stellar sonic web spun with a rapidity and pinpoint accuracy akin to that of the mesmeric ‘speed of sound’ musicianship of Philip Glass.

As a frenzy of piano loops is infused with electronic rotations and even more layers of cyclical sequences, an assortment of spectacular images is conjured up, from running through the snow-kissed vast lands of the Nordics, to the animated flow of bubbling brooks bouncing downhill over shiny coloured stones, feeding their hinterlands with life and vitality.

But the picture that most springs to mind when listening to ‘Appeals’ is that of purity and transparency, of healing and invigoration, all the things one thinks of when the word ‘crystals’ is mentioned.  And, it is indeed crystals that form the centrepoint of the new Zach Stone directed visual for this Bayonne composition.

Speaking of the visual Stone explained, “The visuals for ‘Appeals’ were an experiment in creating the illusion of growing crystals using household objects like ziploc bags, cellophane, and plastic trinkets. We shot a lot of real crystals as well, attempting to blur the line between the organic and artificial materials.” 

Primitives Artwork
Primitives Artwork

‘Appeals’ isn’t just electronic pop.  It is wildly beauteous, electronic pop-fantasy that dances and pirouettes with vital and enigmatic charm.  A magical iridescence of sound, this song is a perfect combination of jewellery box fascinator, modern day experimentation and best of breed pop, stamped with all the hallmarks of virtuoso musicianship and technique, finished off with high-end, precision production.

Speaking about the germination of the idea for ‘Appeals’, Bayonne explained: “‘Appeals‘ was one of the first songs I ever composed using a sample cut completely from an older song. The piano loop at the beginning was cut from a song that I recorded when I was about 17. I liked the way the piano sounded, so I wrote a whole new song around that loop.” 

Watch the wondrous visual to ‘Appeals’ and lose yourself in the scintillating energy of the musical stars with which Bayonne has lit up our nocturnal world.

Bayonne will play a series of live dates in October including London’s Shacklewell Arms on 20th and Bristol’s Simple Things on 22nd.  You can keep in check with more gig, music release and other news via his socials, details here:

Facebook  Twitter  Website  Instagram

Bayonne’s debut album ‘Primitives’ is due for release on November 4th via City Slang and can be pre-ordered here, ‘Primitives’ .  [You can also view the tracklist below.]

‘Primitives’ track list:

  1. Intro
  2. Appeals
  3. Spectrolite (video)
  4. Marim
  5. Waves
  6. Steps
  7. Lates
  8. Omar
  9. Living Room (Bonus Track)
  10. Hammond (Bonus Track)
  11. Sincere (Bonus Track)

Radiohead: Never Has So Little Been So Talked About!

Radioheads Twitter Page

This is what has just sent music media into meltdown.  Radiohead’s Twitter Page.  Reduced to a white nothingness, on whose every move 1.58m Twitter followers hang.  CoS, Best Fit, NME, & Co.  All pumping out news of the nothingness like bullets from an out of control machine-gun.  Never has so little been so talked about. Never has white been so fashionable.  Never has Blankety Blank meant so much more than a cheque book & pen!

Is this it?  Is this it, then?  The moment we have all been waiting for.  The album the release of which, will send our fluttering hearts into a cardiac tango across the floor of our musical souls.

Will it be tonight?  On May Day…traditional international day of the worker? Will it be tomorrow?  The first Monday in May? Tick tock, Thom O’ Clock.

RadioheadB
Radiohead’s Facebook Page

Radiohead’s last album came in the shape of ‘The King of Limbs’ released 18th February 2011.  Five years and nearly three months later, are we finally going to hear the next instalment of what has become one of the most remarkable musical stories of modern pop culture?

I say this half tongue in cheek, but also with a touch of seriousness … #watchthisspace

What should we expect? … Well according to NME …

” … photos leaked from their two years of sporadic studio sessions have seen the band working with elaborate synth set-ups as well as a full string orchestra, suggesting a plush electro direction. The band’s long-time visual collaborator Stanley Donwood, meanwhile, has described it as “a work of art.”

Rumour has it ‘Dawn Chorus’, a track worked on by Yorke as far back as 2009, has been included.  Expect the unexpected, and you probably won’t be disappointed.

In an hilarious post earlier this evening, the irreverent DiS wrote on Twitter:-

Prediction:  Radiohead to launch an app with free instrumental tracks and pay to upgrade to get vocals“.  So you see, it’s all to play for, and all up for grabs.  Everyone’s talking but no-one really knows what they’re talking about!  And the “Blank Canvas”, well that’s just a veil of torment isn’t it.  Like the long instrumental intro, it lures people into a potential false sense of expectation, provokes media into a frenzy of speculation.  Meanwhile the five “heads” are probably in the pub having a right old laugh.

In further developments this evening, it has been revealed that RH fans this weekend received “Burn The Witches” leaflets via the post.

Sing a Song of Sixpence

“Sing a song of sixpence that goes/Burn the Witch/We know where you live,” the leaflet read, with an embossed Radiohead logo. ‘Burn the Witch’ is the name of a Radiohead track thought to have originated around 2003-2005.

Now get this … listen to what he says and now listen to this …  Typical Thom eh?

For now, I’ll leave you on this fine Sunday evening of anticipation, with one of Radiohead’s most memorable live TV performances … Where were you when this gem was aired?  I know where I was.  Slap bang in front of it, glued fixatedly in awe and wonder. Which is how I’ll probably look as soon as I get their next album into my excited little mitts.

What’s the betting on the album being called “WhiteWash” or “Blank Canvas” eh?  Anyone?

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