A totally random, whatever came to mind first, selection of the latest additions to our New Independent Music Friday playlist
Music reviews written by Tobi Davis
Acoustic tones tumble in protracted rake, before opening up into percussive rattle and shake; a kick lands deep and bedded in, and the track builds with a low-frequency push and shaker rasp. Acoustic six-strings playing off each other left/right, the steady rhythmic build broken-up for a 4 count of bars; arpeggio and backing vocals held in amber. Piano keys add depth and weight during the choruses, as strings gently widened the track.
Kittermaster’s vocal walks the beat loosely, allowing the melody to drift; the 18-year-old Artist demonstrating impressive craft and maturity in what is a disarmingly talkative, understated, and well-judged performance.
The accomplished and tastefully ‘hands-off’ production, mix, and master reflects, supports, and enhances Kittermaster’s vocal delivery. The 3-minute 51-second track an object lesson for aspiring Artists in knowing when enough is just enough; a quiet gracefulness and warmth of spirit running throughout.
Artists are oft tempted to the cynical and downbeat as it lends itself more easily to earning the attentions of plaudits and the impression of integrity; but in a world that, of late, feels as though as it is darkening with each passing day, it is of the utmost importance that Artists and Entertainers deliver work of optimism and hope; there is, quite simply, no greater imperative; and it is, in this regard, that Katie Kittermaster has excelled. “Sunday Afternoon” is a quiet triumph; a beacon of light, shining bright against the rising dark.
Artist: Subculture + Rachel Chinouriri
Track: “The River Bend”
Subculture and Rachel Chinouriri come together to craft a bluesy ambient of soulful voice and scattered Acid-Jazz instrument with new single, “The River Bend”.
Bass stalks with deep dab, yet light on its feet. Brushwork shuffles with snare rattle and bleed; percussion landing metallic and blunt in stereo-cascade. Sample rasps in dry coughs and deadened sneeze. Ambient shifts with tonal impressions, too distant for definition; brass bursts in long, shrieked-sustain and shimmering delay. The space of the track fluid and in perpetual flux. Sonics erupt hectic in a well-worked mess of frequencies, random with clear intention.
Chinouriri’s vocals rise glorious from the ambiance; nonchalant and uttered in the swallow and close mouth, words drop like liquid gold; tone, understated, rich and thick with soul. A tour-de-force in voice, delivery, and performance; Chinouriri drawing the ear into the midst of the great undulating swell and surge of accomplished instrumentation.
Evocative of the uber-cool acid-jazz movie soundtracks of Dirty Harry, Bullet, and The French Connection, “The River Bend” is an inspired contemporary brew and exploration in rhythm, melody, and harmony; a living, breathing critique and conversation upon the subject of music and its artistic form; one that opens up the possibilities of creation and liberates the listener from the tired, the generic, and the cynical; a composition that dares you to be different.
Track: “Crazy Horse”
LA-based Independent Outfit Milly drop a glorious dose of laid-back lo-fi and garagey goodness with new single, “Crazy Horse”.
Thrift Shop beats drop blunt and off-tonal, willfully awkward and intentionally warped; alternating off-balance and sat in odd, indifferent distance by quizzical and curious use of reverb. Six-strings delivered in tremolo and chorus, counting strings and rasping rakes, rattling off-set and played-off against each other; left to right, the stereo-field opened up, messing/smart. Bass drones heavy and deep, grinding the track forward in swells of low frequency.
Vocals land lazy and laid-back; teased by saturation and oft scattered by delay, in short, idle stanzas of gloriously lackluster melody and compelling understated lyric. Seemingly haphazard backing vocals, discarded distant and off-center, provide additional width and depth.
Deceptively effective and well-worked in its production, the 3-minute 14-second track peppered with undersold sonic delights, reverses, and keys, crafting shifting layer and contrasting texture into the composition. “Crazy Horse” slow-burns to a triumphant and chaotic crescendo of awesomely distorted guitar noise and dirty swell, as though the noise-floor itself is rising up to bring the song to a cacophonous and glorious end.
Proper independent, alternative music.
Share your music via Thursday’s #Musichouruk 8 pm – 9 pm (UK Time) for considering on our New Music Monster Playlist and review as one of our New Music Picks!
Tobi is a mastering engineer and remixer via Tobisonics. As well as writing music reviews for Brash and running various Independent Music playlists, he also hosts Thursday’s #Musichouruk on Twitter.