Two More On Wednesday: The Altered Hours - Field Music

The Altered Hours - Silver Leather.

Background - Following the organic buzz that arose from “Way Of Sorrow”, the Altered Hours are set to make a further mark on the flourishing psych-rock scene with the direct, sultry follow-up “Silver Leather”.

The band, whose sound has been continually honed over the last few years, have been building a solid identity that will be truly apparent from their upcoming debut. Already a real prospect live, their shows are known for their intensity and the band's ability to envelope both themselves and the crowd in their sound – but where so many focus on the textures, The Altered Hours set themselves apart with as much a focus on the songs themselves. The group have toured Ireland, the UK and Europe and have won critical acclaim along the way.

The group have released another 7'' – Dig Early – on Irish label Art For Blind since and their full length, In Heat Not Sorry, will finally see the light of day this coming January (29th). Part of a burgeoning Irish scene that continues to spawn young and seemingly brilliant, vital bands, Altered Hours will take their place on a wider scale with this record. Melodic, abrasive, dual girl-boy vocals, a Sonic Youth and ‘White Heat’-era Velvets approach to atmospherics, guitar tone and crashing feedback, and the indefinable that is all of their own making - this band’s sounds are surely destined to travel.

Whereas 'Way Of Sorrow' for me, had a punk feel to it (a little like early Banshees material), 'Silver Leather' is definitely more psych-rock orientated. Slower, clearer, with each instrument and the vocals clearly defined, the band put a lot of work into their material, and it works, case in point being this taster for the new album.

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Field Music - The Noisy Days Are Over (Single Version).

Background - Field Music recently announced its return with a new 14 track album Commontime, set to be released on February 5th, 2016 via Memphis Industries. 

The first song to be taken from the album is 'The Noisy Days Are Over', an insistent, sax-punctuated groove and a conversation between two friends struggling to say farewell to the bad old boozy days, when they should "get to bed like everyone else" -- yesterday they shared the video for the track, directed by Andy Martin.

Over the past four years, North-East siblings Peter and David Brewis have threaded their way through one extra-curricular project after another but were inevitably drawn back to working together on their own songs. "As much fun as we might have had on our own or collaborating, we missed just spending time in the studio, the two of us, trying things out and playing together." explains David. The space that Field Music vacated in those four years still appears to be empty. No one else really does what Field Music do: the interweaving vocals, the rhythmic gear changes, the slightly off-chords, but with the sensibility that keeps them within touching distance of pop music. But with Commontime, Field Music show off their unashamed love of choruses in a way they've only hinted at before.

Written and recorded in spontaneous bursts over six months in their Wearside studio, Commontime is built around the brothers playing and singing together again, but also features a wider array of players, including original Field Music keyboardist Andrew Moore, Peter's wife Jennie Brewis and new member of the live band Liz Corney on vocals, plus a panoply of other players. "We wanted to embrace being a duo and, perversely, that made us feel more comfortable about all of those conspicuous cameos" reveals David.  Over the fourteen songs of Commontime, real life conversations are replayed, acquaintances come and go, hard won friendships are left to drift and diffuse snap shots of the everyday are pulled together into what must rank amongst Field Music's best works to date. 

Commontime is available to pre-order (here) on limited edition 2 x 180gram green vinyl + download code, CD, and download. The first 250 physical orders include an exclusive signed print.   The album is also available to pre-order on iTunes with an instant download of 'The Noisy Days Are Over.'

The new video is viewable on our BeeVids page. 'The Noisy Days Are Over' has been around for a little while, it's just steeped in class, and is massively catchy. In terms of building up anticipation for the new album, the video is a (highly enjoyable) reminder, to make a note of the release date, for this extremely talented band.

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Two On Tuesday: No Monster Club - Mleo

No Monster Club - Lemonade.

Background/promo - The new album 'I Feel Magic'  from Ireland's No Monster Club - the follow-up to this year's highly acclaimed 'People Are Weird' LP, will be released by Popical Island on February 5th 2016. 'Lemonade' (the first single to be taken from the album), basks in a strange, new found intersection of Future Islands, Talking Heads and early Flaming Lips.

Prolific Irishman Bobby Aherne may well be one of the best kept secrets in the world of underground pop music. In addition to a previous life using the moniker 'Dublin Duck Dispensary' (and his work as a member of Grand Pocket Orchestra, Women's Christmas, Paddy Hanna and Ginnels), this album marks the 28 year old's eleventh - and most fully realised - release as No Monster Club.

'I Feel Magic' could be the sound of Neutral Milk Hotel, William Onyeabor and the Beach Boys jamming out a series of lost one-hit-wonders on to a tape deck in their bedroom. This is rich, cartoonish art pop following in the eccentric lineage of Tommy Roe, R. Stevie Moore, Jeff Lynne, Captain Sensible, and Kevin Ayers...

After just one listen to this, the band's seemingly bizarre, unorthodox journey so far will begin to make a lot more sense; No Monster Club has performed everywhere from Wisconsin to Verona (with a live band consisting of members of Dublin's 'Popical Island' collective), embarked upon several tours with The Polyphonic Spree, supported scene luminaries such as Wavves and Ariel Pink, mimed along to their hit 'La La Land' on American children's TV, contributed music to documentary films about subjects as diverse as surfing, hotdogs and baseball, inducted to the club personalities as diverse as Jedward and Jeffrey Lewis, and become known for their surreal music videos which tend to feature puppets, dance routines, clones and singing dogs.

'Lemonade' has a quirky and yet quite intense feel to it. Musically it's as refreshing as ice cool lemonade (sorry - compulsive requirement to say that). Whatever the influences and references mentioned above in the promo, this song, has dug it's hooks into me, it's a little different, but highly enjoyable.

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Mleo - Ridiculous.

Bio - Mleo (muh-lee-oh) is an alternative pop/rock band born in Sacramento and raised in Los Angeles. A blossoming project of young, well-trained musicians, Mleo has its roots in the cities of Sacramento and Los Angeles. The band originally started as a trio in the year of 2012 with members Audrey Reed, Victor San Pedro, and Nick De La O, and has grown immensely since then. The three already had years of experience performing together at their high school in Sacramento, CA, so it made sense that they would continue to perform together as they furthered their education in L.A.

Led mostly by singer Audrey Reed, the group brings influences of jazz, funk, indie rock/pop, R&B, hip hop, and hard rock. With a variety of musical perspectives, the band strives to become the face of the modern rock band. They continue to shape this vision by writing songs with no boundaries, yet retaining elements that have kept listeners interested throughout the history of music both melodically and lyrically.

'Rediculous' builds on the bands 2014 record Sunken City. I've included the title track for the album over in BeeVids, and although 'Rediculous' has been about for a while I wanted to feature it, simply because it's such a fine song, from what is a very talented band.

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Monday Double Play: Strange Faces - Dead Trains

Strange Faces - Brand New Way.

Background - Strange Faces is a four piece rock band from Chicago, IL, originating as the solo project of David Miller in 2013. Delivering lo-fi punk rock with 60s pop hooks, the band now consists of front man David Miller, guitarist Taylor Walters, bassist Phillip Valdez and drummer Ben Leach. 

Their debut album "Stonerism" is out this December 11th via Autumn Tone Records.  The album was mixed and mastered by Cadien James of Twin Peaks.

'Brand New Way' is the tenth track on this eleven song album. With opening riffs reminiscent of The Kinks on Waterloo Sunset, the song soon emerges itself into a very different psychedelic atmospheric piece. Only one of two songs I have heard from the album, but based on that, the band sound like they have considerable depth and imagination.


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Dead Trains - County Road Bound/Mean Town Blues.

Bands Bio - Hailing from Boston, Dead Trains create a unique hybrid of old country blues and punk rock. Since their debut Break ‘Em On Down EP in 2013, they have toured extensively along the East Coast and embarked on two nationwide tours. With their most recent release, 32/20 EP, Dead Trains have garnered major local support from Vanyaland and Boston Metro and were recently named The Deli New England’s Artist of the Month.

With their frenetic, slide guitar driven mixture of blues and punk, Dead Trains want listeners to know that this is not simply blues rock. Inspired by the sounds and lyricism of traditional Delta Blues, County Road Bound tackles themes of displacement, self-deprecation, and fatalism. Even the album title derives from traditional blues repertoire. To be “county road bound” suggests that you’re bound to be sentenced to a road prison because of crimes you’ve committed or plan on committing.

County Road Bound utilises irregular chord progressions, swift tempo changes, and pulsing bass and guitar lines to create the menacing, hard to define sound that Dead Trains have become known for. The title track seamlessly brings all these elements together and even transitions into their interpretation of Johnny Winter’s “Mean Town Blues.” The record also includes an unrecognisable cover of Suicide’s 1977 “Rocket USA,” proving their ability to make anything their own. But that’s not all they do. Rounding out the album, “Fire Next Time” is the simple, yet lyrically dense track that brings listeners back to the basics – a guy with a guitar and a slide.

One of seven tracks, 'Country Road Bound/Mean Town Blues' typifies this release with it's gutsy punk edged honesty. When they talk of a mixture of punk and blues, they mean it, the songs mix both elements together giving a sound and energy that is enticing.

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Alternative Take: Squarehead - Face+Heel - Problems

Squarehead - Citamenic.

Background - After a one and a half year hiatus, Melbourne instrumental electronic outfit Squarehead return to push the boundaries of what music can be with their new single 'Citamenic'.

It happens too often. You find a band you love, so you shell out for their live show - only to be bitterly disappointed by the difference between what you heard from your speakers and what you hear at the gig. It’s too stripped back, too rough, too cacophonous… you go home, dejected.

Not so with ‘Citamenic’. The track, which premiered recently on Happy, paints a picture of exactly what to expect at a Squarehead gig. The name itself, a mirror of “cinematic”, speaks volumes of the track’s vivid nature; beginning as a low-key wall of sound and building to a bubbling, celestial conclusion. ‘Citamenic’ marks the imminent arrival of a brand new two-track from Squarehead, produced by Melbourne’s P.T. Parcel, that sees the band sitting squarely in their prime.

'Citamenic' is a mixture of electronic, rock and almost jazz infused music. The expansive sound and excellent musicianship really does make this something of an epic piece. The second track 'Handmedown' is a little more stripped down, but equally well crafted and pleasing.

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Face+Heel - Mansions.

Background - Following two successful EP releases, which led to an appearance on Boiler Room and media support from Dazed, Fact, XLR8R, Wonderland, The Fader, Dummy and many more, duo Face+Heel are excited to announce the release of their debut full length album; 'Our Prince's Quarry', out 4th March 2016 on Dekalog. The first taster from the album comes by way of 'Mansions'.

Face+Heel are Luke Taylor and Sinead McMillan; a Welsh born duo now based in the culturally rich city of Bristol. The pair garnered widespread acclaim with their 'No Stars' (2012) and 'Chipped Tooth' (2013) EPs, and built a reputation for their dynamic live offering after tours throughout Europe, and a sold out show with Matthew Dear in London. 

'Our Prince's Quarry' tells the story of growing up in mid-west Wales in the 1990's and how it feels to leave the city and return there as an adult. Memories good and bad of the faded postcard towns and the people who inhabit them all year round; the returning sense of isolation felt as a younger person desperate to escape life in the margins. Remembering first loves and awakenings and looking for reconstruction after inner city burnouts.

From love songs that tale place in the last days of Dryweryn, a village flooded in the 1960's to be used as a reservoir for the city of Liverpool, to tales of delinquency and psychadelic experimentation at agricultural fairs; the album tells the story of the end of youth and the uneasy feeling that all roads lead back to home. The album perfectly showcases their brand of downbeat, minimal electronica, combined with Sinead McMillan's gorgeous, atmospheric vocal to create layer upon layer of sonic serenity.

For minimal electronica Face+Heel don't half pack a lot in. There is a richness to the music in 'Mansions' that is beautifully complemented by Sinead McMillan's classic vocals. The promo talks of 'layer upon layer of sonic serenity', and that's no exaggeration. Another album keenly awaited.

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Problems - Pretending.

Background - Adelaide’s Problems give you their brand new single and their last release for 2015; titled ‘Pretending’. Duo producer Justin Walkden and vocalist Shane Lock wrote ‘Pretending’ in a rare studio collaboration as both spontaneously shared ideas and recorded demos. As the track came together, Problems used the opportunity to explore some new sounds and techniques in production, resulting in their most complex offering yet. 

“The main elements of the song dropped out very quickly and we used that as a base to explore some new production ideas.  Lyrically, it sticks to a theme that is fairly familiar to most, being the trials and tribulations of relationships that were just never meant to work.” – Shane Lock (vocals) 

Cutting their own path through the electronic post-chillwave trend vacuum, Problems are a nuanced electronic sound full of ethereal melodies, deep bass and washed-out, down-beat percussive flourishes.

'Pretending' is both calming and quite uplifting. The whole thing cries quality, whether it be vocals, music, melody, or the overall production. Less is more, so I will say no more.

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Genre Mix: Why We Run - Jenn Vix - Vandaveer - The Chambermaids

Why We Run - A Moment To Return.

Background/Promo - Emerging only earlier this year Why We Run have returned with energetic third single 'A Moment to Return'. Their previous two singles received over 200K streams across Spotify, YouTube & Soundcloud, as well as glowing reviews via everyone from Zan Rowe (triple j) to Rob Thomas (yes, the Rob Thomas). 'A Moment to Return’ is the first track from the Sydney quartet's forthcoming debut album (due April 2016). 

Produced and mixed by Wayne Connolly (Boy & Bear, Cloud Control, Paper Kites), the song’s nostalgic lyrics and driving energy are reminiscent of indie stalwarts like The National, The Killers, Joy Division and Silent Alarm-era Bloc Party. It’s a vibrant and moving taste of the great places Why We Run are sprinting towards.

'A Moment To Return' might be a good song to play to someone, if you were trying to define what good indie rock music is. The song flows beautifully, with delicious music and calming vocals, it is hook laden and well under my skin.

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Jenn Vix (feat John Ashton) - The Woman With No Fear.

Background - Jenn Vix has been releasing music for 15 years, her self-titled debut album on her own label, coming out in 1995 received glowing reviews in Rolling Stone amongst others. Further albums included collaborations with Reeves Gabrels of The Cure and David Bowie’s band, Andy Anderson formerly of The Cure and electro industrial artist Dirk Ivens.

‘The Woman With No Fear’ is the first single from the the new ‘Strange Buildings E.P.’ which comprises of five tracks, with two of them "The Woman With No Fear” and "Weirdo” featuring former Psychedelic Furs Guitarist, John Ashton, on rhythm guitar.

No surprises regarding the driving guitar on the featured song, however Jenn's singing is superbly matched for this type of music. Vocally she reminds me in part of Julie Driscoll, and as a fan of her music (and also the Psychedelic Furs) this is a double helping of delight for me. The five songs on the EP differ quite a lot, both in pace and musical styles, all of them, are really strong. If you like  'The Woman With No Fear', grab the EP.

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Vandaveer - But Enough On That For Now.

Background/promo - Vandaveer are announcing their fifth full-length album, The Wild Mercury, out via WhiteSpace Records on February 19. The album is a career-defining release from a band that has gathered its dedicated fan base the old-fashioned way--on the road. With everyman narratives and striking, folk-based harmonies, Vandaveer loosely fall under the Americana umbrella, but the band regularly elbow their way into wider spaces with a kaleidoscopic assortment of sounds. With The Wild Mercury, they’re stretching the genre's fibers even further.

The Wild Mercury is a journey through the personal stories of Mark Charles Heidinger, but this time with far more musical collaboration outside the unit's core duo of Heidinger and vocalist Rose Guerin. Vandaveer now feels fully formed and brimmed with its potential. This record is clearly the best the band has sounded, and they already sounded pretty great. 

The lead single, "But Enough On That For Now" is a grandiose kick off to the album. Avoiding trap song writing cliches that often permeate the roots scene, Heidinger and Guerin stack lead vocals on one another to several soaring climaxes. Each phase of the song comes off like its own coda, and when you think it can’t pile on more emotion and melodious sections, it does. The track is a bold stamp, reintroducing the band to their true believers and emphatically announcing their presence to the uninitiated.

'But Enough On That For Now' comprises of stunning vocals and harmonies, that are supported by under stated, but extremely well crafted instrumentation. Sometimes when I read promo's and then listen to the music, I have to double check I've not mixed things up. On this occasion the above words are spot on, this is one fine song.

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The Chambermaids - Tall Grass.

Background - When Ollie Moltaji and Max Schramm joined founding siblings Neil and Martha Weir to form the newest Chambermaids lineup, the chemistry between the four was immediate. Rather than putting time into playing live, they began working on new material, integrating the studio (Old Blackberry Way) into the writing and arranging process. 

Songs were captured fresh and allowed to develop and morph, sometimes coming together quickly and sometimes completely reinventing themselves. The result is a dreamy and expansive take on reverb-soaked minimalism. "Tall Grass", the first single from the almost completed album, was released on Old Blackberry Way/Guilt Ridden Pop.

'Tall Grass' has been out for a month, so we are a little late on the scene with this one. Musically it's a little like shoegaze morphing with Neil Young & Crazy Horse, something that really works for me, although I think you need to listen and see if you get my drift. Vocals are softer in the mix, which also works really well, so all in all, this is one to feature late, rather than never.


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Friday Four: MRCH - Golden Daze - La Sera - Nightair

MRCH - Spin.

Background - College found the members of MRCH immersed in the worlds of jazz, opera and speciality coffee. Fast forward three years and two bands later, the trio has settled into their own unique brand of electronic indie. With two thirds of the group living in Phoenix AZ and the remainder in Sacramento CA, their songs are crafted primarily through file sharing via Ableton.

Falling musically somewhere between the creative production and ideals of Phantogram and the smart pop of CHVRCHΞS and Purity Ring, 'Spin' is an accessible, cerebral outing from the trio that has seen significant label interest already.

CMJ described their last track, ‘Highway Drivin’ as “…a big, squashy, glitter-glam beat and ice queen crooning”. MRCH holds high the principle of recreating their music live, often performing songs that are still being written, allowing their sound to evolve as “organically as possible.” Though much of their creative process happens remotely, the band plays together constantly – staying as close as their many miles allow.

It comes as no surprise that a song as good as this, is generating serious music industry interest. That the band develop songs through live performance is clearly working. If 'Spin' was released on vinyl it would get plenty of 'spinning' from me (sorry - could not resist).

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Golden Daze - Salt.

Background - Formed by Ben Schwab and Jacob Loeb, Golden Daze is a collaborative songwriting duo. Inspired by 60's melodic rock and contemporaries like Cass Mccombs and Brian Jonestown Massacre, Golden Daze drenches their straightforward earthly pop tunes in ethereal drones and tape flutter. 

The duo, originally from the Midwest (Schwab from Ohio and Loeb from Chicago), are based in Los Angeles and will be releasing their self titled debut LP on Autumn Tone Records on February 19th, 2016.

A good song, the production gives it some real edge, it could be from the sixties, and I guess by the audio quality you know it's more recent. It's the kind of song to get lost in for a while and forget about your worries.

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La Sera - High Notes.

Background - The title of La Sera's fourth album says a lot by saying so precious little: Music For Listening to Music To. So, in other words, "music." After the punky heft and wildness of 2014's Hour of the Dawn, an LP that thrashed against expectation, Katy Goodman returns with a set of songs that double down on solid simplicity - the power of wry lyrics, glorious guitar, driving back beat, and the occasional pump organ groove. And as the record cover gives away, Goodman isn't alone. La Sera is a duo now - that's guitarist/cowriter/new husband (!) Todd Wisenbaker standing up there. And Ryan Adams joins to produce the fruit of their union, La Sera's first live-recorded analog album, featuring 10 tunes about good love, bad love, dead men, and confused kids.

Music For Listening to Music To opens on "High Notes," where rollicking guitar and punk drums chugga-chugga beneath Goodman's assured coo. Her lines deftly wrap the snark of Morrissey inside the sneer of Johnny Cash, and if you ask her what her favourite parts of the new album are, she'll tell you it's the scrappy stuff. "Time to Go," which hurdles out the gate on a rocket of slide guitar and elastic bass, is another one aimed at settling old accounts - just 'cause our heroine is happily married doesn't mean she can't take swings at those who came before.

For a glimpse at the album's genesis, though, pull up duet "One True Love." When it came time to write her fourth full-length, Goodman wasn't sure where she wanted to take the music. One night she and Wisenbaker (a Jenny and Johnny touring alum who joined La Sera in 2012 and produced Hour of the Dawn) did something they'd shockingly never done before: wrote a song together. That upbeat jangle-pop cut was the result, and the rest poured out. Wisenbaker sings on two others as well - the coiffed malt shop blues of "I Need an Angel" and bittersweet rocker "Nineties," which features synth by Adams and Greta Morgan (The Hush Sound, Gold Motel). Nate Lotz (Halsey, Madi Diaz) drummed for the week long PAX-AM studio sessions.

'High Notes' is a feisty song, the single heralds the arrival of a new album next year. Having Ryan Adams on production is a plus, however La Sera is clearly a team effort and the first song is so annoyingly good, that waiting for the album seems remarkably unfair. The album is due out (on Polyvinyl) March 4th.

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Nightair - The Roses.

Background - Nightair is the musical project of Tony Davia, Brandon Miranda, Lucas Connor, and Lauren Potts. Named after the airborne disease from the 19th century, the group formed in 2014 in Orange, CA. The band’s sound has been described by OC Weekly as "honors students explaining the travails of teen relationships in a profound way that even the jocks can understand...harboring influences from acts like The Strokes, Interpol and Bloc Party."  Nightair's debut EP was released November 16, 2015 on Secret Chief Culture.

The band also tell us - After releasing the music video for “Clouds", we put the track up for sale on Bandcamp and donated all the proceeds to Sweet Relief Musician’s Fund to support musicians who are struggling financially due to illness or disability. Amongst other notable accomplishments, we have received very positive reviews from a number of renowned music blogs.

Featured song 'The Roses' is typical of the quality and high standard of their debut EP. The five songs demonstrate some real depth to the band, and whatever the influences may be, the feeling of passion and enjoyment comes through loud and clear. The video for 'Clouds' is on our BeeVids page.

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Rock Of Ages: Oracle North - Plum - The Missendens

Oracle North - Communion.

Background - Having previously collaborated on numerous projects and having released material on labels such as Kitsuné and Palms Out Sounds, Swedish four-piece Oracle North are currently getting ready to release their debut EP. Drawing inspiration from life-embracing warm and ambient soundscapes and colder forms of new-wave and punk; their new EP moves around themes as loss and alienation but never hits a dead end, rather a supposition for rebirth, for becoming your own origin.

As a complete entity ‘Communion’ is both a distinct and consummate release, which when broken down calls to mind the sounds of New Order and the Manchester post-punk scene, whilst seamlessly applying osmotic pressure in the form of darkwave textures and 80’s influenced electronic sections to merge and create an EP full of rich yet dark, atmospheric colours and an orchestrated bohemian individuality.

Talking about their forthcoming EP, the band said, “I think our music is touching on subjects like estrangement and existential anxiety, which is expressed through some sort of yearning for a more primitive experience. Aesthetically, we've been inspired by equal parts Greek mythology; the Dionysian, Apollonian dichotomy and so forth, and the late 70s, early 80s DIY culture. And Can... and Suicide.”

As touched on in the promo, there are some older post punk vibes within 'Communion', however there is far more to the song than that. It has that clean, precise sound of 'older' New Order, but enough of it's own identity and quality to grab my attention. I like it, and surely that's what its all about.

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Plum - Light Years, Dark Years.

Background - Like an old kaleidoscope pointed at the present, Plum is a psychedelic rock outfit that brings the aesthetic of 60's and early 70's music into a modern context. Velvety vocals, hallucinatory harmonies, and prismatic guitars provide soundtracks for daydreams. Formed in late 2014, Plum's members came together with the ambition of filling the void of vocal harmony and vintage guitar driven music in the modern music scene.

The high powered, heavy hitting vibes of this band seem to come almost naturally – and they should. Having formed in late 2014 the band has already had a chance to open for giants like Charles Bradley, Win Butler and The Districts. The point being – Plum are on to something special and any true fan of Chuck Berry's music should be enamored within seconds.

The problem with music like this is that it reminds me of just how old I am. Surely not you say, still it does give me a chance to compare from memory whether it stacks up against their forerunners. For me, some types of music are timeless and Plum have that feeling going for them. So whether there are comparisons with the 60's or early 70's is academic, it's great music, done well, thanks Plum!

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The Missendens - Rolling Start.

Background - The Missendens is that rarest of creatures: a kick ass band of like minded souls who have all earned their stripes the hard way, treading the boards at countless gigs in countless bands, who have come together to bring songs of undeniable importance to all who will listen. 

Like a lot of great music, The Missendens began with a lone songwriter strumming away - forgoing sleep, pouring years of passion, life's lessons, successes and failures into chords, melodies and lyrics with true meaning. Very quickly it became evident that the bagful of songs Craig Hansen had been working on were sonically too big to be done justice by one man.

Friends were called, classified ads were placed, and eventually a band of music obsessed ‘brothers’ who were born to play was formed. Not for lure of money and not to chase some elusive dream, but purely for the love of 'the song' and the thrill of the indescribable, spine tingling power of a band in step with each other.

Recorded at Surry Hills’ Hercules Street Studios and Camperdown's Church Street Studios with former lead guitarist of Thirsty Merc Sean Carey engineering, The Missendens debut album, due for release in March 2016, was recorded in a total of 10 studio days.

'Rolling Start' is one of those songs that just gets on with it. It has the hallmark of musicians who know there stuff and having read their bio above I guess that much is clear. What makes the difference is that, the chemistry evidently exists within the band. Add a good old rock'n'roll song and a love for the music from those performing it, and you arrive at a fine song like this.

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Midweek Three: Sinnet - Peppermint Heaven - Justin Sawicki

Sinnet - Houdini Hands.

Background - Aaron Spransy knows a thing or two about Midwest Manners. The Wisconsin native has been settled in Boston for some time now, playing around town as guitarist for indie-pop melody makers The Fatal Flaw, but his own musical vision recently crystallised with Sinnet. His two-mikes-and-a-laptop bedroom project now evolved into a full-fledged band. That fleshing out of sound nicely augments songs like Castlevania, a smooth-as-f66k electronic pop soul-sucker that's the lead single off, an eclectic collection of lush sounds and lively spirits on their e.p. Midwest Manners. - Mike Marotta / Boston Phoenix.

Sinnet brings to mind the dusty, stoic Midwest of Steinbeck and the "The Last Picture Show". This Boston group rips its way through a very studious, carefully arranged, and sometimes cathartic slew of inventive indie rock. - Matt Parish / Boston Globe. Sinnet has received airplay on Boston's WFNX and WMBR radio as well as features in the Boston Globe, Boston Phoenix, The Noise and The Weekly Dig! 

'Houdini Hands' is we are told, about indecision and the mysterious magic of love and commitment. Musically it is quite distinctive, the keyboards are a little reminiscent of The Doors, but there comparisons end. The video for this has a 'spooky, tongue in cheek' theme, however I just feel the song on it's own is something quite special.

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Peppermint Heaven - I'll Be There For You.

Background - After cutting their teeth playing the Chicago indie club scene several years back, Peppermint Heaven aka Juno (Vocals, Keyboards) and Spark (Vocals, Bass, Drums) separately made the long trek from Chicago to LA eventually winding up together in the summer of 2011 when they began creating their own tasty brand of 80s-influenced indie pop, replete with heavenly harmonies, Juno’s delicious keyboard hooks and Spark’s inventive bass ‘n’ beats.

Taking their name from an obscure pre-Smiths Morrissey song, Peppermint Heaven found a home at indie band playground The Bedrock in LA’s storied Echo Park area and several months of playing, writing, recording, mixing, and honing their sound followed.  After a wintry trip to London in early 2013, the boys decided that the UK would be the perfect launching pad for the band. This made perfect sense, as many of their influences hail from the UK (Tears For Fears, Pet Shop Boys, Simple Minds, New Order, Howard Jones, Psychedelic Furs to name a few). 

Having unveiled their debut EP, the aptly titled The Delicious EP, last year, the band were thrilled with the loving response the record received, including a Top 10 placing on Music Week’s dance chart. Building on their earlier efforts, the band returned to the studio impassioned by the response.

With echoes of David Bowie, Morrissey, Erasure and Pet Shop Boys, but also boasting a distinctive Peppermint Heaven edge, the duo return with their ambitious debut album Precious Things. Hypnotic album opener Stranger Than Fiction is a clear demonstration of how the boys have raised their game. An intriguing dancefloor filler which sees Duran Duran meeting New Order, Spark and Juno show that they are plenty capable of reaching the arena highs of their musical idols. Journeying through the social comment of tantric The Cage That We Live In through to the uplifting breeze of The Girl I Used To Know and the irrepressible earworm Foreign Feeling (think Heaven 17), Precious Things is an ambitious debut that delivers what the duo have always promised – a big nostalgic 80s driven, contemporary pop record.

Unfortunately I cannot share anything from the forthcoming debut album as yet, however 'I'll Be There For You' is a reasonable introduction, for those new to the duo. What I will say is the album really builds on earlier work, and the comments above are pretty spot on music wise. Due for release on 29th January, I have a feeling they may well be in for a considerable amount of attention.

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Justin Sawicki - Upsala Trees.

Background - Justin Sawicki has been active in the Hamilton Music Scene since 2003. In that time he has shared the stage with such acts as Dave Bidini (Rheostatics), Selina Martin, Tomi Swick, Tom Wilson, Terra Lightfoot, and Max Kerman (Arkells). In 2007 he recorded in Daniel Lanois’ legendary Grant Avenue Studio. In 2009 he won the Committee Award at the Hamilton Film and Music Festival, and in 2011 released his LP. The offering, Nothing For No One, has been described as "a portrait of an artist who loves to explore" and as being "eerily romantic and playful".  In 2012 the recording was nominated for Independent Album of the Year at the Hamilton Music Awards.

In December of 2015, Justin Sawicki, the songwriter's self-titled second album is set to be released. The most recent effort is more honed and mature with a strong focus on traditional roots rhythms and arrangements. This time, Sawicki offers uptempo numbers (Louise, Honey Bee), songs with humorous insight (I've Never Been a Farmer, The Polar Bear Song), and songs referencing obscure Canadian Geography (Upsala Trees). The album will have it's physical release on December 11 at the Artword Artbar in Hamilton, ON.

Taken from the new self titled album, the song 'Upsala Trees' really is just a glimpse, of some varied and very pleasing songs. There has been a considerable amount going on in Justin's life of recent times, however as an independent artist, the vast majority of delivering this album has been on his shoulders. That said musically and lyrically this is a mature piece of work, that in my opinion deserves to get noticed. Website here.

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Stella Diana - Shohet. (From The EP Alhena)

Stella Diana - Shohet.

And the promo says - Stella Diana have confirmed details for the international release of their vast, compelling EP ‘Alhena’, which will be available through Italy's Vipchoyo Sound Factory and Britain's Raphalite Records on December 4th. The first single ‘Shohet’ foreshadows a release full of melodic gems. Tracks spirit you into a state of bliss, underpinned with a harmonic complexity that both beguiles and entrances. Welcome to your new favourite Italian band.

Stella Diana are Dario Torre (vocals and guitar), Giacomo Salzano (bass guitar), Raffaele Bocchetti (guitar), and Davide Fusco (drums). This EP was mixed and mastered by Marc Joy of Lights That Change and Alexander Kretov of Ummagma. 

Hailing from a city more known for pizza and opera than shoegaze and new wave addicts, Stella Diana possess not only the spirit of late 80s/early 90s British bands like Catherine Wheel and Ride, but also the dark wave seeds of Joy Division and the stylistic underpinnings of new wave artists like Psychedelic Furs and The Chameleons, all of whom number among the band's influences. Others include Pale Saints, Lush, The Stone Roses, Codeine, Christian Death, and Talk Talk.

Since their inception in 1998, Stella Diana has gradually become recognized by the Italian press as one of the best shoegaze bands in the country with their intricate, brooding and textured mix of shoegaze, post-punk, dreampop and new wave. They have managed to grow a sizeable international following despite singing entirely in Italian – an unprecedented achievement for an Italian indie band in these respective genres.

I am really impressed with Stella Daina's EP 'Alhena'. 'Shohet' is probably the most intense of the five tracks which includes a fascinating cover version of Kula Shaker's 'Govinda'. The band sing in their native tongue, which for me adds to the intrigue, and enables them to perform truly from the heart.
 
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