Week 76 | Tobi’s New Independent Music Picks

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

Tobi's new music monster

Artist: Thyla
Track: “December”

Thyla’s latest single, “December” is a work of compelling grace and sublime melancholy.

December by Thyla

Painted in great sweeping ambients of shimmering feedback and sustain, slow-burn six-string arpeggio and delay-drenched rake; drums pounding deep at the heart of it all, kick and snare trading blows; great wash and crash of cymbal fizz, exploding onwards and outwards. The bass walking the groove steady and strong at the back.

Millie Duthie’s vocals cry out in scattered, overlapping echo and double; desperate shards of melody cast skywards and infinite by the talented vocalist. The instrumentation of the track swimming around her, sonics shifted, pitched, and reversed by modulated sample rate and timing. The production building in step with Duthie’s voice and delivery to a towering, massive musical event.

As the music industry runs itself down to the traditional festive break, quality releases become thin on the ground as artists either hold off to the new year or fall foul of the dreaded christmas song (a phenomenon which year on year robs musicians of any discernible taste or apparent ability). Amidst this slew of mediocrity, Thyla have delivered one of the stand out tracks of the year. “December” is a work of compelling songcraft and sublime musicality; a composition where emotion and production work in well-judged and inspired harmony.

It’s time to amend those best of 2019 playlists.

Facebook.com/thylamusic
Twitter: @thylamusic
IG: thyla_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!


About Tobi
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.

Tobisonic Mastering
Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 68 | Tobi’s New Independent Music Picks

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

Tobi's new music monster

Wrestling by Cartalk - BRASH! Magazine BlogArtist: Cartalk
Track: “Wrestling”
In gloriously grungy tones, Cartalk delivers a quiet-riot and tour-de-force in compelling songcraft and inspired production with new single, “Wrestling”.

Electric six-strings rattle, grind, and rake; the stereo field opened up and the 3-minute 30-second track given depth, with competing movements of crunch-blunted tone, delivered in saturated-crafted contrasting timbre. The bass moving fast, with a sleight of hand, across the fretboard; perfectly punctuated dabs of low frequency, flavored with a delicious edge of distorted grit. Drums working a pittapatta of kick and snare; kick landing light, bouncing the track from beat to beat. Snare impacting into the skin, the stick turning and dipping on the wrist. The tip and tickle of the Hi-Hat adding count and pace; keeping the top of the groove, as the bass drives the bottom.

Vocals laze, talk, and shout their way through the verses; conversational and idle, yet building in weight, inference, and quiet intensity; shards of an image, an afterthought, and possibly trade-off in scattered aside; an understated soliloquy, meandering monologue.

Only to break-open in the choruses, a voice on-the-run in stacked double-track upon double-track; rushing and rising in glorious and untidy, indie-singalong-hook. Guitars surge and shift into supersonic, great velocities of distortion cast left/right. The production accelerating and breaking as one; wondrous dynamic movements en masse. Cymbal shimmer and smash cascading across the width of the track; snare landing in rapid-fire smacks of rasping, exploding noise.

Though presented in the homebrewed tones of slackerdom, lo-fi, and hazy, dazy, garage rock, ‘Wrestling’ is, in fact, a deceptively well-crafted production; the composition moving from movement to movement with accomplished finesse and compelling contrast. The instrumentation employed demonstrates a keen sense of musicality in its choice of complementing and competing tone and timbre. The unassuming arrangement creating great depth, shifting layer and width with great, and quiet, success.

The history of rock ‘n’ roll has known more than a few ‘larger than life’ bands who went about their music-making with great and glorious pride, pomp and circumstance. And although the legendary status of the likes of Led Zeppelin, Queen, and Pink Floyd are well-deserved; far fewer, truly great bands, went about their work quietly, in compelling diligence and inspired service to their craft and their audience. And it is in this less celebrated, but every bit as impressive, regard that Cartalk begins to stand compared to, and are evocative of, the likes of Tom Petty and the Heartbreakers. For they too were deceptively accomplished in their production, understated in their presentation, standout in their songwriting, and out and out rock ‘n’ rollers.

Facebook.com/cartalkmusic
Twitter: @cartalkmusic
IG: cartalkmusic

 

Selfish Girl by MayflyArtist: Mayfly
Track: “Selfish Girl”
22-year-old producer Mayfly makes a welcome return with an inspired dose of sizzling synthpop sonics and driving electronic bass, new single “Selfish Girl”.

Rising out of the silence, a pulsating, modulating sequencer shimmers from note to note of low mid spl. Kick punches deep and deadened, smacking low frequency and a touch of sub down the center of the 3-minute 28-second track. Snare arrives in stabs of smack and rasp; dry implosions of midrange impact. A second sequencer fizzes and shifts down the gut of the track, providing movement and pace.

Mayfly’s voice travels in breathless rushes of a graceful whisper, placed ethereally and afloat above the center of the mix. Lines are repeated as though loop or percussive sample; building in emphasis through the act of repetition; their inspired melody compelling contrasted by the repetitive presentation.

Throughout Mayfly’s vocal plays off against the instrumentation, drifting into the distance as the arrangement swells and surges. Synth leads meander, almost absent-minded, in the background. The production creating a constantly evolving and contrasting stereo field, as the orchestration grows in complexity, layer, and depth.

Mayfly’s output is protracted at best, with only two singles in the space of a year, but each is an exquisite act of composition. The young producer demonstrating a keen ear for detail and a seemingly intuitive sense of how to build complementing elements and layers. “Selfish Girl” represents further evidence of the striking talent of Mayfly. We can but hope that we need not wait another year for her third single.

Facebook.com/officialmayfly
Twitter: @Officialmayfly
IG: officialmayfly

 

Escape from Mars by CostiArtist: Costi
Track: “Escape from Mars”
London-based rapper and singer-songwriter Costi drops a sublime slice of graceful jazz joints, vocal, wit, and flow with new single, “Escape from Mars”.

Vinyl crackles left/right, snippets of stereo, lo-fi ear candy on the down-low. Piano keys tumble, climb and fall in loop; set back and roomy, gramophone timbre; jazzy with understated opulence. A bassline begins to groove; shifting movements of low-frequency grind, pushing and pulling the track; laid backswing. Beats snap and punch; snare crushed rattle, drum-machine sneezed; stuttered shards. Kick dabbing deep, dull, and flat; popped on top, creating a presence in the mix.

Costi walks his words at a stroll, allowing the beat to breathe; working in loosely syncopated stanzas of conversational thought, observation, and reflection; lyrics rich in wit and insight, compelling undersold.

Unassuming and quietly engaging, “Escape from Mars” is delivered with accomplished and tastefully judged musicality; word and instrument working in effective tandem. The intuitively pitched production, an object lesson is knowing how much is enough. A demonstration of artistic integrity and the great potential of its creator.

Facebook.com/costithe
Twitter: @therealcosti
IG: realcosti


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!


About Tobi
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.

Tobisonic Mastering
Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 67 | Tobi’s New Independent Music Picks

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

Tobi's new music monster

"Something in the Way" by USE ft. T.O.L.DArtist: USE ft. T.O.L.D
Track: “Something in the Way” (Grungewave)
Self-described ‘Grungewave’ Artists USE featuring T.OL.D. deconstruct Nirvana’s 1991 release, ‘Something in the Way’ and cast it a staggering stripped-down reimagining of vast, unforgiving sonic landscape, haunted by electro-vocal, phantom and elemental.

‘Underneath the bridge, the tarp has sprung a leak,’ phonetics devolved utter constant and guttered vowel; rung flat and electro-atonal, vocoder ghosts; a phantom zone modulates distant, low bass drone and ambient; rising darkness, dank and unforgivable. Whispers shimmer in drift and delay; slivers of reverb, ethereal and unearthly.

“Something in the Way”; kick impacts deep and sunken, low frequency stained dirty; gated snare smacks tourniquet tight, accompanying its funeral drum. Ambiance rises, gaseous and fused with electric charge; static movement, unnatural. Odd synth-sonics pulse and modulate in great mortal breathes of fizzing saturation. Piano keys brighten in brittle desperation and lamentation, only to die back into the nothing.

Both faithful rendition and inspired reworking; “Something in the Way” delivers a singular listening experience unlike any other; though evocative of seminal works, such as Pink Floyd’s ‘The Wall’, The Smith’s ‘Last Night I Dreamt that Somebody Loved Me’, and Nine Inch Nail’s ‘Something I Can Never Have’, USE have crafted a production of standout originality; a staggering statement of artistic intent, uninhibited and uncompromising; raw, difficult and quite simply beautiful.

Facebook.com/untitledsocialexperiment
Twitter: @USEBOT001
IG: untitledsocialexperiment

Facebook.com/itistold
Twitter: @theworldistold
IG: theworldistold

 

Girl Wilde, Probably Crying EPArtist: Girl Wilde
Track: “BATSHIT” (Probably Crying EP)
LA-based Independent Artist Girl Wilde delivers a noisy slice of alt-punk-rock and aggro-pop with new song “BATSHIT” and new EP Probably Crying.

Synth-sonics pulse blunt and saturated tonal, fused-funk and oddity; a kick dabs flat, deep space vacuum implosion; the snare dry, crisp and willfully unrefined. The bass shifts in protracted drives and turns, form and force from the back of the mix. Sound FXs burst in compression compacted close-quartered noise; from spot, sound to scream. The chorus erupting in grinding, six-string drive and fuzz. Layers of distortion, contrasted by flavor, tone, and timbre, create depth, width, and excitement.

Girl Wilde delivers her words, understated and talk-sung through the verses; overlapping stanzas of vendetta unrealized and wrongs deserving of violent righting; a smoldering epicenter of pending natural disaster. The fuse lit, Girl Wilde’s vocal explodes in the choruses, rushing and burning through the lines; lyrics contorted to frustrated shrieks, energy unhinged.

Hardwired aggravated, hewn from noise; a perfect pop animal for kids to trash their rooms too, “BATSHIT” is an alt-rock aggro-anthem for the downtrodden, disrespected, and denied. A 2-minute 52-second scream-fest. Destruction, given form. Jump up and down until the world shakes. Don’t take it. Don’t accept it. Just go BATSHIT.

Facebook.com/GirlWilde
Twitter: @ImGirlWilde
IG: girlwilde

 

Devour You by StarcrawlerArtist: Starcrawler
Track: “You Dig Yours” (Devour You)
LA-based 21st Century Rock ‘n’ Roll animals Starcrawler drop a deliciously debauched dose of distortion, drums, and detonations with the new song, “You Dig Yours” and new LP Devour You.

Noise. Thunderous, pulsating, noise; delicious detonations of drums and distortion, the track arriving with massive pride, pomp, and circumstance of glorious rock ‘n’ roll. “You Dig Yours” whispers lead singer Arrow de Wilde; right in your ear. Bassline running in staggered dabs of low frequency; the kick, a tightly coiled punch; snare hitting with rattle and smack, rattlesnake sucker-punch. Hi-Hat rasping in fizzing metallic implosion and cough. Electric six-string wails in the delayed right to left, sonic howl, with grunting, crunchy riff and grind playing off and against the bassline.

De Wilde’s voice struts and snarls, with gut deep resonance, rusty, soulful edge, and breathy, absent sustain. Words stand tall and defiant at the center of the mix, refusing to be rushed by great, storming mass of rock energy. Confrontational in delivery and offensive in the phrase; each line landing with an implicit and uber-cool ‘f**k you’ attached.

In an age where so many rock ‘n’ roll wannabes have EDM-ed their compositions in the hope of attracting a wider audience and remaining relevant, Starcrawler is a refreshingly unapologetic dose of bluesy swagger and dirty rock. Their sound stinks of 12 bar fret walks, overdriven tubes, and turning it all the way to eleven. Starcrawler is a gloriously noisy and very boozy night at the opera. Turn it up loud. And then turn it even louder.

Facebook.com/starcrawlertheband
Twitter: @thestarcrawler
IG: starcrawler


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!


About Tobi
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.

Tobisonic Mastering
Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 65 | Tobi’s New Independent Music Picks

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

Tobi's new music monster

I Know You’re Gonna Let Her Down by Giant Party Artist: Giant Party
Track: “I Know You’re Gonna Let Her Down”
London-based four-piece Giant Party drops a radio-ready dose of new wave groove and neo-synth-pop cool with new single, “I Know You’re Gonna Let Her Down”.

Drums pace the track in shifting strides of quietly confident kick and snare; the kick dropping in dabs of low frequency, while the snare rasps in tight, dry coughs. An electric six-string grunt and grinds in blunt, percussive shards of crunch and fuzz. The bass growling at a short distance, a stalking wolf of protracted SPL. Modulated tones twist and contort through quickly-paced turns, thrilling the ear and adding odd, bespoke texture.

Vocals walk-in in well-timed stanzas of compellingly understated melody; inspired processing creating a shimmering timbre of double, slap, and synthesized. Lyrics unfold in a series of compact phrases. Layers of backing vocal add width, depth, and counterpoint through the choruses as synth pads fizz and expand. The 3-minute 30-second track opening up across the stereo field with musical finesse and accomplished grace.

A slow burn, radio-ready, midnight anthem, “I Know You’re Gonna Let Her Down” demonstrates the Artist maturity and creative depth of Giant Party. Far from the exuberant, distorted mess of most Indie offerings, Giant Party has crafted a track of integrity, judgment, and taste, worthy of the great compositions that so defined the legendary production-indulgent 80s.

Facebook.com/giantpartyband
Twitter: @GiantParty
IG: giantpartyband

 

Baby Blue by Harlequin Gold - BRASH! Magazine BlogArtist: Harlequin Gold
Track: “Baby Blue”
Candian indie-pop outfit Harlequin Gold delivers a sublime slice of grace, introspection, and quiet, understated cool, with new EP and title song “Baby Blue”.

Arpeggio counts time in stand-still, dabs of blunt gently overdriven tones fall and rise; rocking the track in a state of perpetual movement. In duet, the vocals travel in graceful melodic lines of hushed syllables; words delivered at a brisk pace without haste. Delays and reverbs set words hanging, thrown, and lingered.

Drums pound, burst and thump. Deep bass pushes and pulses at the heart of the track; the production gathering speed and complexity. Layers of electric six-string tumble and rattle across the stereo field. Vocal doubles cast left/right open up the width of the composition. Further arpeggio cascade in contrasting, well-judged frequency ranges; creating a shifting landscape of texture and sound. The song surging upwards and outwards; great sonic expanses of wailing guitar note soar to the infinite.

An inspired opening to their four-track EP of the same name, “Baby Blue” goes about its work with an accomplished arrangement and musical sleight of hand. The choices of instrumentation demonstrating an acute awareness for using contrasting timbre to create an engaging sense of depth, height, and width in the production; and working in well-judged service to the standout songcraft in evidence at the heart of the song. Indie-pop of the highest quality.

Facebook.com/harlequingold
Twitter: @harlequingold_
IG: harlequingold

 

Greytopia by Karolina RoseArtist: Karolina Rose
Track: “Greytopia”
Independent Artist Karolina Rose crafts an inspired dose of uber-cool alt-dance-pop rich in musicality and originality, with new single “Greytopia”.

A dance kick punches light and blunt, trading deft blows with a retro beat machine snare/clap; electric guitar spits and spasms in a tightly timed loop; toms fall from barreled and synthetic; bass counts up in dull, deliberate steps of low-frequency tone. Rose paints pictures in vivid terms, odd imaginings; words chosen for sound, form, and meaning, carefully crafted to create a texture of phonic and shades of inference.

The 3-minute 37-second track lurches into overdrive as a sub lands deep into the noise floor; weight and force of massive sound pressure level pulsing in meters of a waveform, felt in the gut; synths modulate, shift and shimmer left/right; a sonic palette set in perpetual movement. The production fizzing with energy in phonic-abstraction.

“Greytopia” successfully marries tried and true dance-pop form and structure with lyrical oddity and musical originality to craft an inspired composition of singular and unique quality. Rose brings a striking depth and integrity to her words; refusing to simply settle for ‘pretty stock-phrases’ that infest so many dance-pop offerings, and instead, delivers a genuinely different lyrical experience; and in doing so, demonstrates that entertain and art can live well together and with great effect.

Facebook.com/karolinarosemusic
Twitter: @karolinar0se
IG: karolinarosemusic


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!


About Tobi
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.

Tobisonic Mastering
Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 63 | Tobi’s New Independent Music Picks

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

Tobi's new music monsterLoving is the Way by Alex McArtorArtist: Alex Mcartor
Track: “Loving is the Way”
Texas-born singer-songwriter Alex Mcartor makes a welcome return with an inspired blend of soulful instrumentation and synthpop sonics to delight and enthrall the listener, with new single, “Loving is the Way”.

Mcartor’s voice strikes up, soulful and compelling with rasping edge and warmth; her words strung melodic in long, towering, stanzas of rich low and resonating mids. ‘Loving is the way to touch you, feeling just to be in your heart’, the words delivered mantra-like, staggering and massive. Electric keys push outwards in graceful undertones and modulated overtones. A beat cranks, bit-crushed and sat deep into the center of the mix; quietly keeping the count.

Synth pads fizz and pulse, as the track begins to build. Electric arpeggio rattle and flex left/right; the production breathing width and depth into the stereo field, as the kick drives down the middle in rapid dabs of low frequency. Mcartor’s voice begins to shift, delivering words in quickening twists and turns. A snare smacks hard, flat-packed; reverb gated short, the beat-design evolving in gathering complexity.

Synthpop sonics erupt in shards of shimmering chimes, while electro-bass rumbles in metronic shudders and waves. Electric six-strings wail and contort in ambient and delay. Hi hat snaps and cymbal bursts, pop and sneeze across the width of the arrangement, adding fizz, height and energy. The 4-minute 5-second composition pushing onwards and upwards in a perfect judged blend of instrumentation, while drawing upon an inspired and eclectic range of genres.

“Loving is the Way” further cements Alex Mcartor’s reputation as an Independent Artist of striking creative integrity and originality, capable of delivering songcraft and production of the highest order; made all the more impressive, given her young age. And, in turn, further demonstrates that Alex Mcartor has every chance of becoming a highly successful Artist with little or no apparent limit to the heights she might reach musically and artistically.

Facebook.com/alexmcartormusic
Twitter: @alexmcartor
IG: alexmcartor_

 

Freckles by Pip Blom Artist: Pip Blom
Track: “Freckles”
Hard touring Independent Artist Pip Blom delivers a noisy dose of lo-fi indie-rock goodness with new single “Freckles”.

Overdriven six-string bark down the center, in dry percussive stabs and bolts. Hi-Hat rasp ticks in shifting snippets of metallic fizz and chink, while kick lands deep with a touch of hollow; the snare, a sneezed smack of super-short rattle and mid-frequency impact. A second driving guitar joins, distorted blunt and fuzzy. The bass moving in jinks and jags, deep and at the back of the track.

Pip Blom’s vocals arrive in lo-fi telephone tones, prickly and rusted; the filter effect setting them off mic and a touch distanced. Blom’s voice idles and meanders through hazy image and trail of thought in compelling understated, lazy stanzas. Willfully off-set backing vocal adds weight to the chorus, as cymbals splash and shimmer around electric rocketship, saturation, burst, explosion, and grind.

“Freckles” moves through its 3-minute 2-second run time with engaging simplicity and disarmingly straight-forward approach to songcraft and production. Everything is done extremely well and with deliberate intent. There is an impressive economy and sense of creative-discipline in the methodology of the instrumentation and arrangement. Each element serves a clear purpose, without the inclusion of anything frivolous or superfluous. The result is an immensely enjoyable and effortless listening experience. The music of Pip Blom stands as an undeniable testament that lo-fi and noisy can also be carefully crafted and adapt in its execution.

Pip Blom are playing live across Europe and the UK throughout September, October and into November.

Facebook.com/pipblommusic
Twitter: @pipblom
IG: pipblom

 

Out on the Old Highway by Li'l Andy Artist: Li’l Andy
Track: “Out on the Old Highway”
Montreal-based singer-songwriter Li’l Andy crafts a landscape of forgotten lives and broken dreams in musical tones forlorn, wistful, and poetic with new single, “Out on the Old Highway”.

Slide guitar haunts from out the vista haze, slinking and shimmering like quicksilver rattlesnakes. Six-strings grind, arpeggio, metallic and heavy; rusted tones, creaking and cracking under the weight of flesh white finger ends. A bass guitar moves dimly in the distance, shadowing the guitar in low-frequency drones and drags. A kick drum lands seldom and deep, punctuating the track like a stopped clock.

Li’l Andy’s voice stalks in vast, tired, syllables; great casts of low mid resonance, set in occasional contrast, by lifts of light phonetics allowed to drift without direction or intention. Images flow in vivid phrase and graceful passage; depicting scenes of the destitute and the downtrodden, the maligned and the conveniently forgotten.

Moving in protracted, yet graceful shudders and shakes, the 4-minute 37-second track grows quietly in instrumentation; a lone fiddle, strung out somber and beautiful; a single bowed serenade to the cast-aside, and in turn, a sad echo of Li’l Andy’s own lament. The country singer-songwriter crafting a constant, if allusive, an undercurrent of myth most ancient and born of the land into the, otherwise, stark and grounded lyric.

Despite its sobering subject matter, Li’l Andy manages to inbune “Out on the Old Highway” with a lingering sense of wonder at the persistence of hope and the great human capacity for perseverance. An inspired and accomplished act of songcraft and production. Music-making of the highest quality.

Facebook
Twitter: @thisislilandy
IG: thisislilandy


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!


About Tobi
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.

Tobisonic Mastering
Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 62 | Tobi’s New Independent Music Picks

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

Tobi's new music monster

Sunday Afternoon by Katie KittermisterArtist: Katie Kittermaster
Track: “Sunday Afternoon”
Singer-Songwriter Katie Kittermaster delivers a quietly compelling slice of upbeat Indie-pop with new single, “Sunday Afternoon”.

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.

Facebook.com/kkittermaster
Twitter: @kkittermaster
IG: katiekittermaster

 

The River Bend by Subculture + Rachel ChinouririArtist: 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.

Facebook.com/whoissubculture
Twitter: @whoissubculture
IG: whoissubculture

Facebook.com/rachelchinouririmusic
Twitter: @rachelchinourir
IG: rachelchinouriri
Crazy Horse by MillyArtist: Milly
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.

Twitter: @millymusicgroup
IG: millyleband


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!


About Tobi
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.

Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 61 | Tobi’s New Independent Music Picks

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

Tobi's new music monster

Robot by Beach Riot - BRASH! Magazine BlogArtist: Beach Riot
Track: “Robot”
Brighton-Based self-described fuzz-pop outfit Beach Riot drop a rapid dose of alt-rock indie guitar grind with new single, “Robot”.

Six-strings kick-off left then right, fuzzed and blunt funky, tasty; bassline drops on the grunt, heavy hulk, overdriven obnoxious and awesome. Kick and snare punch the beat, double impact; metal fizz, rasp, and shimmer. The 3-minute 19-second track lurching at a glitch, percussive robotic.

Vocals ride on the rush, running the lyrics with ease, but at pace. Backing vocals adding width and depth. Additional flanging FXs bleeds hyperspace-texture left/right through the chorus. The light-glide of the vocal line contrasting the draggy groove and grind of the guitars.

Soaring, rocket-propelled, saturation-sonics lift, twist, and contort out of the track; glorious cacophonous distortion noise, swell and surge. Heavy-hit toms tumble in the flick, scatter, and landslide.

Cast raucous in the close sweat, the heave, and the rush of a packed pub gig, “Robot” delivers crowd-pleasing Independent goodness in thick, noisy portions. Never once missing a beat, the track drives throughout; a cover to cover barn-stormer. Come and grab some noise!

Facebook.com/wearebeachriot
Twitter: @wearebeachriot
IG: wearebeachriot


Trouble Everyday by She Drew a Gun - BRASH! Magazine BlogArtist:
She Drew The Gun
Track: “Trouble Every Day”
Singer-guitarist Louisa Roach aka She Drew The Gun lights the fuse on a rallying call to arms with new single, “Trouble Every Day”.

‘Well, I’m about to get upset from watching my TV. Checking out the news until my eyeballs fail to see.’ And with those words, Roach lights the fuse on her latest release, “Trouble Every Day”. A lone acoustic builds in protracted rake, and percussive stroke; beats snap and cough in tight, dry stabs; the six-string opens up in rhythmic rattles, hi-hat snips and nips at the track, hustling it onward.

Roach’s vocals gather pace, chasing the beat; words crammed with increasing punch and drive, a streaming-lyric of outrage; manifesto in frustration.

Bass riff crunches and shifts, cranking down the center with low force and push. Tremolo electrics drop in a shimmered lick, Morricone overtones. Sonics burst in shards left and right, distant gun and cannon fire.

The 3-minute 22-second track rises up off-balanced and intentionally unhinged, a wild animal likely to snap. Roach delivers a shuddering, unrelenting tirade, a call to arms; a rallying cry to stand up, denounce, and fight the shocking inequality and injustice of our social/political system; a wake-up call to all of us who have been sedated, comfortably numb to the normalization of exploitation en masse.

In a world where freedom has been exchanged for convenience, where freedom to consume has replaced freedom of speech, where the people are dosed dormant and cast serf by a ruling class, whose privilege and wealth are equaled only by their insane greed.

If you’re not angry, you’re simply not paying attention.

Facebook.com/SheDrewTheGun
Twitter: @shedrewthegun
IG: shedrewthegun

beyond the grave by notelle
Artist:
Notelle
Track: “Beyond the Grave”
Nashville-Based independent artist Notelle delivers a haunting, heady dose of her trademark ‘heavy, messy pop’ with new single, “Beyond the Grave”.

Beginning in breathy atonal pulsating chants, more akin to speaking in tongues than conventional vocal, sub and bass shudder and grind out of the shimmering ambient. Claps, stacked and distant, burst and smack. Melodic hook whistles, unreal, yet not unnatural; dark sonics modulating with fizz and shifting tone. Piano keys count down in deliberate steps, as a riser lifts ethereal.

The 3-minute 22-second track erupts in great saturated waves of blunt, odd, phonics; the beat skipping and snipping at speed, a percussive rush of high-frequency energy. A massive soundscape of deep, low pressure, pushing at the gut and swallowing the body.

Notelle’s vocal drifts rise and falls. A ghost melodic, caught in perpetual contradiction; soaring to die back. Well-judged vocal FX add glitch and stutter, textures EDM set against the strange cinematic sound design. The production shadows Notelle’s voice throughout; massive tides of sound are driven skyward, only to plummet into darkness or ebb abandoned into the dirt of the noise floor.

Set willfully at odds with itself; dance-pop trading blows the alternative, experimental, and macabre, “Beyond the Grave” is a darkly inspired composition of intriguing and unsettling depth; an oddity of genre, an intentional exploration and act of self-expression in confusion; and yet, with undeniable strength of purpose and method of intent. Pop as it was meant to be and of the highest quality.

Facebook.com/notellemusic
Twitter: @notellemusic
IG: notellemusic


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!


About Tobi
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.

Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 60 | Tobi’s New Independent Music Picks

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

Tobi's new music monster

"Violet" by Sea GirlsArtist: Sea Girls
Track: “Violet”
Rapidly rising stars of the UK Indie-scene Sea Girls deliver an anthemic crowdpleaser of barnstorming indie-pop-rock, with their new single, “Violet”.

Synthpop-sonics fizz and pulsate, ambients modulate in resonating loops; a rising sun, a distant star, stuck in amber; a percussive pitter-patter creates the sense of impending movement in contrast; kick and snare snap into life with tight punch on point and rasping smack; a series of electric guitar flicks lift on the left, while the bass rises up the neck and out of the soundscape. The chorus erupts in cymbal shimmer and six-string drives.

Having walked the beat in well-judged understated and compact phrases during the verse, the vocals soar in the chorus; euphoric sing-along melodies, lyrical rocket ships taking us to the heavens. Backing vocals add depth and width, while smartly encouraging the crowd to sing-along even harder.

The instrumentation swirls, swoops, and surges around the lead vocal line; great highspeed expanses of noise and energy. The track shifting like a rollercoaster, running the rails at a lean; diving into sonic space, only to hurtle upwards at near-breakneck velocity. Bass and drums working hard and tight at the heart of the arrangement, smacking and slapping the song into a great gallop of momentum. Synths pushing waves of harmony across the width and body of the track; crafting depth in layers, while the guitars rattle, fuse, and blaze in high-octane charged hyper-saturation; adding sudden bolts, rhythmic lines, and fizzing cascades of six-string infused excitement.

A barnstorming, upbeat, rabble-rouser, “Violet” will set live shows alight across the UK and beyond. Smart production and accomplished songcraft, framed by a highly competitive radio-ready mix and master, the 3-minute 29-second track built to conquer playlist and radio alike. Fiercely creative throughout, “Violet” provides the listener with an ever-evolving series of well-worked delights for the ear. But more than all that, so much more than that, it provides the listener with escape, with aspiration, and most importantly of all, hope. A song to beat back the rainy days, the daily commute, the bills, the grind; a song to set the world alight, to blaze and to burn; a song to make dreams come true; a rocket ship straight to the stars.

Facebook.com/sonicseagirls
Twitter: @sonicseagirls
IG: sonicseagirls


Orange Dreamer by Ay Wing + Chuuwee + ShukoArtist:
Ay Wing + Chuuwee + Shuko
Track: “Orange Dreamer”
Triple-threat Independent Artist Ay Wing, rhyme-sayer Chuuwee, and producer/composer Shuko team-up to drop an easy late-summer groove of lyrical flow, electro-beats, and inspired melodic and instrumental hook, with new single, “Orange Dreamer”.

Electro-sonics burst protracted in modulated strobes of funky warble and grungy wah, bass works the groove in low dabs of tightly controlled weight and force; kick ducks in blunted mid and transient-designed sub, perfectly understated, tasty; snare arrives in ultra-dry snaps, short and rasping. The instrumentation shuffles and slides in percussive shimmers and sidesteps, playing off, through, and around the sonic space.

Ay Wing’s voice dances in breathy breezes of compelling light melody; a vocal display of northern lights made phonic. In striking and engaging contrast, Chuuwee stalks the beat in effortless strides, turning the rhythm on a dime; fusing word and percussive form as one. The track swaying from one lyrical style to another, creating an intoxicating blend of structures and tones.

Intelligently worked production keeps the 3-minute 13-second song moving forward with well-judged use of evolving arrangement and ear candy; never once stumbling, nor overstepping; moving in an open, organic fashion, more akin to jazz improvisation than modern studio construction. A glorious, easy, breezy, late summer groove of inspired musicality and lyrical integrity. Roll the windows down low, and let ‘Orange Dreamer’ flow; a soundtrack to having no place to go, and loving getting nowhere slow.

Facebook.com/aywingmusic
Twitter: @aywingmusic
IG: aywingmusic

Facebook.com/ChuuweeNCR
Twitter: @chuuw33
IG: chuuw33

Facebook.com/shukoshuko
Twitter: @shukoshuko
IG: shuko_music
Portand by Charlee RemitzArtist: Charlee Remitz
Track: “Portland”
Self-produced Independent Artist Charlee Remitz crafts a gently compelling slice of acoustic indie-dream-pop rich in late-summer nostalgia, perfect for hazy, lazy road trip mixtapes, with new single, “Portland”.

Six-string arpeggio drops acoustic tones in bright, warm cascades; Remitz voice arrives almost immediately in hushed, rushes of well-crafted percussive stanzas. Lyrical snapshots of hazy, dazy moments of friendship and adventure; a kick lands deep and bedded into the ground, hi-hat snipping and fizzing to the right. Synth-sonics sound brassy and beautiful in a quite simply inspired choice of instrumentation. Guitar arpeggio playing off each other, left to right, in an understated and graceful duet evocative of intuitive mutual understanding.

A sense of kinship runs throughout the 3-minute 51-second track; a musical scrapbook of memories and moments, both painful and precious. A quietly compelling testament to the great and endearing value of true friendship, of the unbreakable bond between two broken souls.

The song littered with reference, personal and specific; in-jokes and asides known only to those special two. And yet, in great demonstration of the accomplished songwriting, and despite its overtly personal nature, “Portland” resonates with a universal appeal. Remitz managing with impressive success to translate the singular and unique into a group experience.

A perfect indie-pop gem, a late-summer mixtape for late-summer road trips; for laughing on the run, and chasing the setting sun, a glorious tribute to the unspoken and inseparable ties that bind a pair of survivors, who have survived together, because of each other; in the face of it all, in the face of the callous and the malicious, the casually sadistic and the cruelly indifferent, the users and the abusers, the pimps, the pushers, and the players; a friendship born infinite in spite of the inequitable, and in celebration of love.

Facebook.com/CharleeRemitz
Twitter: @charleeremitz
IG: charleeremitz


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!


About Tobi
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.

Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 57 | Tobi’s New Independent Music Picks

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

Tobi's new music monster

Heavy Metals by Tanners - BRASH! Magazine BlogArtist: Tanners
Track: “Heavy Metals”
New York-based synthpop oddity Tanners drops an infectious slice of perfectly crafted, dark and delicious, electro-pop delight, with new single, “Heavy Metals”.

Synth-sonics unfold, massive and ominous; a dark heralding, a brassy dread harbinger electronic. Toms tumble beat-machine dry and fiercely percussive; the track shifting in the tight rhymic shudders. Ambient pads pulse distant and adrift, crafting depth and additional movement into the track. Momentum builds through the verses in carefully crafted layer and element, creating tension and, in turn, need for release.

Tanners vocals work the verses across the beats; stepped stanzas of phonetic twists and turns built around the click of the track; working the musical tension with image and scattered thought in compelling lyrical form.

Chorus break open with the pulsating pace and rise of Tanner’s perfectly pitched pop hook and singalong melody. The instrumentation dancing around and playing off her accomplished vocal line. Stratocaster-dry guitar strings smack and rattle, synths soar in fizzing saturation; electro-textures ripple through filter and modulation; delays creating pattern through feedback. Backing vocal and ambient set afar to add further size, width, and depth.

Since releasing her self-titled EP in 2018, Tanner’s subsequent three single releases have each demonstrated an increasing sense of confidence as an artist, songwriter, and producer.

“Heavy Metals” is a understated tour-de-force in alt-pop production; a testament to the craft of orchestration to create tension, dynamic, and contrast; instrumentation working in well-judged partnership with vocal and lyric. The music of Tanners continues to inspire, surprise, and delight in equal measure. We can only hold our breath and wait in quiet desperation and expectation for what extraordinary pop might come next.

Facebook.com/whoistanners
Twitter: @whoistanners
IG: whoistanners

 

Watching Me by Glossii - BRASH! Magazine BlogArtist: Glossi
Track: “Watching Me”
South London-based post-punk four-piece Glossii deliver a raucous dose of guitar fuzz ‘n’ grind, smack you up drums, and vocal snarl with new single, “Watching Me”.

Six-string riff rips open the left channel with overdrive spike and crunch; with crash and splash of cymbal rasp and simmer, snare and kick, smack and punch the track into life; a flaming 3-minute 12-second drag racer of glorious distortion and noise. Grinding heavy and hard, a bassline is wrung by the neck. The guitars playing off each other left to right in spitting, growling saturation.

Vocalist Zanghirella towers and taunts above the explosive sonics of instrumentation, her vocal edged with fused drive. Lyrics arrive in rapid-fire salvos of percussive phonics, driving the verses in rhythmic tandem with the drums; soaring, snarling stanzas lift up through the choruses in darkly melodic phrasing.

“Watching Me” is more than just a rowdy, hard-drinking, crowdpleaser; built for the intensity of packed pub gigs and chaotic euphoric festival mosh pits, tight songcraft and accomplished production will allow this rock ‘n’ roll animal to thrive on radio and playlist alike. Hang your speakers out the windows kiddies, it’s time to wake up the neighbors.

Facebook.com/glossiiofficial
Twitter: @glossiiofficial
IG: glossiiofficial

 

Danger by Amorie - BRASH! Magazine BlogArtist: Amorie
Track: “Danger”
Self-described, ‘electro-pop enigma’ Amorie returns with dissident riff, lyric cast in shadow, and drums from the abyss, with new single “Danger”.

Drenched in reverb and echo call, a tortured electric lick contorts and taunts atonal, blunt, and beautiful in somber, dissident oddness. Drums gigantic, cinematic and ancient pound left and right; deep resonance and sound pressure cast infinite in distance. Strings grind in percussive stab and flex; disturbed, evocative of the iconic, genre-defining soundtracks of Herrmann.

Amorie whispers, breathes, and swallows her words in weary absence, steeped in foreboding and dark prophecy. As the instrumentation grows, her vocal lifts, twists open into shriek, wail, and cry. And with her anguish, the orchestration splits and cascades into melodic shard and shattered phrase.

Amorie continues to craft her own musical testament. Fiercely original, willfully difficult and challenging; disfunction in action, and every bit an alternative release, “Danger” is a singular listening experience not to be missed by true fans of Independent Music.

IG: thatgirlamorie


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!


About Tobi
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.

Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi

Week 56 | Tobi’s New Independent Music Picks

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

Tobi's new music monster

Frankie's Girlfriend by Lauran HibberdArtist: Lauran Hibberd
Track: “Frankie’s Girlfriend”
Rising star of the UK Indie scene Lauran Hibberd drops a midsummer slice of her now trademark sardonic Indie Pop with her new single, “Frankie’s Girlfriend”.

Raspy, rusty six-string riffs percussive and driving, hang distorted and noisy off the swaggered stomp ‘n’ smack of bedded-deep heavy kick and punch-blunt-weighted snare; the beat strutting and thumping down the center of the 3 minutes 28-second track. Bass guitar working in low dabs from the back, present in force of SPL. Electric guitars grinding rhymic burnt fuzz and shrieking pop-rock lick.

Hibberd’s voice walks tall and pushed sweet, the compelling Americanesque twang framed and sat perfectly by the grunt and overdrive of guitar. Building in rushes through the pre-choruses; lyrics set smartly for the pay-off in the choruses.

On the back of a successful sprint around the summer festivals and a string of upcoming dates across the UK, Lauran Hibberd’s latest release further cements her growing reputation as one of the UK’s most exciting young artists.

“Frankie’s Girlfriend” is available now across all major streaming platforms.

Facebook.com/lauran.hibberd
Twitter: @lauranhibberd
IG: lauranhibberd

Work on Things by Baby Bulldog Artist: Baby Bulldog
Track: “Work on Things”
LA-based drummer and Independent Artist Steph Barker delivers a home-brewed dose of fiercely percussive lo-fi goodness with solo project Baby Bulldog and new single, “Work on Things”.

Shifting at an edgy, hyperactive hustle and pace, the 2-minutes 2-seconds track shimmers kinetic in a rapid-fire exchange of percussive element; guitars and bass snap-stab in extra quick series, synth-sonics pulsate and modulate in an ever-moving ever-form-changing surge of texture electronic; nimble stickwork flicks, tickles, and slaps a smartly judged and contrasting array pad, skin, cymbal, and cowbell.

Barker’s voice sits deep in the ambient with harmony and slap delay; running the lyrics in an engagingly haphazard stream of thought, image, and observation. Her tone familiar, straight forward, and uncomplicated throughout. Though laidback in presentation, her vocal performance works the beats fierce and tight throughout.

“Work on Things” is a great and glorious mess of fantastic and willfully unrefined instrumental flavors, snapped into sharp focus by a each and every element working together to further the rhythmic experience for the listener. While other home-brewed creations are inclined to wander, prone to aimlessness, Baby Bulldog’s latest release feels direct and to the point. The result is a highly enjoyable slice of Indie-goodness.

“Work on Things” is out now on all major streaming platforms.

Facebook.com/BabyBulldogMusic
Twitter: @bbbulldogmusic
IG: babybulldogmusic

Sepia EP by OK ButtonArtist: OK Button
Track: “Nostalgia” (Sepia Secrets EP)
Aberdeen-based dream-pop trio OK Button’s debut EP, Sepia Secrets is a sweeping midnight landscape of sonic texture, understated melodic grace, and quiet brutality.

In whispers and whisps, in textures and tones, ethereal, unconscious, and darkly romantic; In dislocated oddity and stark honesty; in broken form, and scattered musical element. In instrumentation adrift; in the silence of absence; in the inspiration of loss, the desperation of imagination, in spite, and because of, insufferable pain. In breathlessness. In the pause between heartbeats.

In all of this, OK Button craft a musical world apart from, and in reflection of, our own. The intoxicating expanse of their dream-pop soundscape is struck to its very core by a bedrock of great emotional depth, hewn from the day to day of their own lives; delivered without apology, raw and direct. This staggering contrast of musical presentation and lyrical content makes for a singular, beautiful and brutal listening experience.

Sepia Secrets unfolds in layers of inspired instrumentation and sound design. Vast continents of pulsating synth-sonic, scattered beat, distant bass drone, and chaotic sound FX breath into life; musical bar growing in surge and swell, one after another. Tracks build and rise, only to break, fall back, and rush you again. The stereo field shifts in shuddering waves and cascading percussive elements.

At times idling in wistful nostalgia and melancholy, or darkly lingering in malice and resentment; only to burst, rip open in torrents of ambient, sequence, and melody; towering musical expressions of hope, dismay, defiance or fatality. A tour-de-force in production, cinematic with depth, movement, height, and width; drawing upon a wealth of influence and idea.

Great bands don’t just create music, they create their own worlds. To listen to ‘Sepia Secrets’ is to step into the world of OK Button. Extraordinary, somber, romantic, singular, beautiful, brutal, and odd. A great undiscovered country of musical gems and striking lyrical truths. A unique listening experience and one not to be missed.

Sepia Secrets EP is out now on all major streaming platforms.

Facebook.com/Okbuttonmusic
Twitter: @okbuttonmusic
IG: okbuttonmusic


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!


About Tobi
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.

Facebook.com/tobiproducer
Twitter: @masteredbytobi
IG: masteredbytobi