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| Photo - Mediaroid |
Lucy Lorenne & The Early Birds - Tamagotchi Nights.
Melbourne's dynamic six-piece indie pop rock outfit, Lucy Lorenne & The Early Birds, are dropping a vibrant and nostalgia-driven pop anthem, 'Tamagotchi Nights', accompanied by an equally charming music video today Friday, August 11.
With her debut EP, 'Summers Gone', already under her belt, the charismatic Lucy Lorenne and her band continue to grow their endearing sound as they explore new depths of sonic and lyrical maturity with this power pop anthem that takes a colourful trip down memory lane.
'Tamagotchi Nights' – co-written by Lucy Lorenne, Matt Hargreaves and Flagrant Artists producer Ben Oldland (Ūla, Ashwarya, Alley Eley, Genes, Sian Fuller) – is a vibrant boppy number that pays homage to childhood innocence and fantasy. With an air of melancholy for the more innocent times gone by, the song captures the essence of post-millennial nostalgia.
Lucy Lorenne & The Early Birds create a captivating soundscape that goes on a joyful trip down memory lane. Opening with an 8-bit synth riff, the track bursts with a delightful blend of upbeat guitars and charming video game-like synth lines, infusing the song with a playful atmosphere. The driving drums keep the energy soaring, while Lucy Lorenne's absolutely adorable vocals and heartfelt lyricism add a touch of innocence and sincerity to the mix. Effortlessly weaving together the catchy 8-bit elements with infectious indie-pop hooks, the track is a mixed bag of emotions that builds to an exhilarating and euphoric chorus.
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Much of Radio Red, the first full length album Laura Groves has released under her own name, was written, produced and recorded by Groves in her studio, watched over by two radio transmitting towers. “I became very drawn to them and they became like symbols to me; they were always awake, sending their messages, the red lights always came on at night and watched over whatever was going on in my life.” The album deals with themes of communication - missed and intercepted signals, chance meetings, synchronicities, the channels through which we try to express our true feelings, the outside interference that can get in the way and the joy of letting go and allowing the messages to flow freely.
Working its way through years of Laura’s life as an artist - early experiences of releasing music, live performance, touring, build up and breakdown, the record was a way to tune in to the many, often conflicting signals of fragmented memories. “I’ve always been very sensitive and open to what’s happening around me, and also struggle with the sheer amount of noise sometimes. There was a radio tower on the hill opposite the house where I grew up - I would look out at the network of streetlights winding up towards it and it all had a sort of mystery to me. It was a kind of escapism and a comfort, with an undertone of melancholy that was hard to put into words. I think that glow, that strange feeling, is what I’m always searching for and exploring through making music and artwork.”
This is the wavelength Laura is tuning into and trying to pin down in “Sky at Night” and the “faraway feeling” that she talks about being consumed by in the hymn to miscommunication and determination “Any Day Now”. This faraway feeling makes itself known as the need to open up and show emotion in the chord voicing of “Synchronicity”, true friendship, togetherness and isolation in our online world in “Sarah” and the heartbreak that can come with the breakdown of communication in electric piano love song “I’m Not Crying”. The “Silver Lining” of the final track, which returns to Laura’s early love for fingerpicked guitar, leads us back to the power of the redemptive love that always seems to show up just when everything seems lost.
Self-recording and production is a core part of Laura’s songwriting process. “I remember years ago getting hold of some basic recording software and being instantly drawn in. The idea of being able to layer up my voice was a dream, like building an orchestra out of what I had at home.” The passion for home-recording, using the resources available at the time, working through limitations and capturing textures through layering, forms the foundation of Groves’ experimental and off-centre pop music and electrified folk music. The sound world of Radio Red is made up of echoes and snapshots of half-remembered pop songs, piano ballads, chopped up TV theme tunes, ambient synthesized sounds and electronic music; tuning in between channels without fully belonging to any one of them, with the comfort, familiarity and strangeness that can come with hearing voices on the radio.
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| Photo - Stasia Garraway |
Experimental singer-songwriter Ora Cogan will release her new album Formless on Aug 25, an LP that finds beauty, absurdity, humor, and unlikely joy in the bleakest of times. Cogan’s smoky, psychedelic approach to gothic country and hazy folk merges with post-punk, groove, psych rock, and traditional balladry.
This week Cogan releases "Katie Cruel,” a tragic ballad about a sex worker traveling with light infantry soldiers. ‘Once they called me the roving jewel, now they call me Katie Cruel.’ The haunting track is a defiant, vindicating, feminist proclamation that flips the script on the way women are vilified.
Ethereal vocals and a shuffling brush snare lay over a sitar-like guitar pattern to underscore the strength of the lyrical message. "You can demean a woman and call her 'Katie Cruel’," said Cogan. “So what… F if I care!”
Formless, finds beauty, absurdity, humor, and unlikely joy in the bleakest of times. Cogan’s smoky, psychedelic approach to gothic country and hazy folk merges with post-punk, groove, psych rock, and traditional balladry. "Katie Cruel" follows the VHS/Super 8 video for the first single “Cowgirl” and the haunting "Dyed."
Recorded in mostly off-the-floor takes with rhythm section David Proctor and Finn Smith on analog tape at Vancouver Island’s Risque Disque studio and co-produced by Cogan and Loving’s David Parry, the album features international guest stars including Cormac Mac Diarmada from LANKUM, who plays strings on “Feel Life,” and a duet with Y La Bamba on “Ways of Losing.”
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Last month, Malmö, Sweden shoegaze/dreampop trio Echo Ladies announced that they have signed to Rama Lama Records/Gazehop Records and will release their second album Lillies on 8th September 2023.
Commenting on the track, the band say: “‘This song is heavily inspired by two of our favourite bands, A Place To Bury Strangers and The Jesus & Mary Chain. Our aim was to make the song feel like a big wave of noise, feedback and guitars that hits you in the face. Can’t remember how many layers of fuzzed and distorted guitars are on this track, but it’s maaany.”
Echo Ladies are Matilda Bogren, Mattis Andersson and Joar Andersén—three school-friends who, after playing together in a few different bands, realised that they worked best on their own. In 2014, after looking for “a name that represented our sound”, they became Echo Ladies, partly inspired by the name of the drum machine from another of their favourite bands, Echo & The Bunnymen (though their own drum machine, for now, remains nameless).
Following a quiet spell for the band while the rest of the world turned upside down, Echo Ladies are now proudly returning with their second album Lillies, recorded and mastered by Joakim Lindberg at Studio Sickan in Malmö, and following on from their acclaimed 2018 debut Pink Noise on Sonic Cathedral, which was one of Rough Trade’s albums of the year.
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