I didn’t realise when I first put this down on the list for later, but I’ll spoil the suprise for you now, so guess what, it’s another one of those clever chaps from Bombay Bicycle Club sneaking off and doing music in a completely different genre that sounds nothing like the band. Jack Steadmen joins bandmate Ed Nash (as Toothless, with drummer Suren de Saram, lest we forget), in forging his own distinct path, armed with one of the best names for an artist I’ve possibly ever seen. This is one of the singles that he’s put out thus far (I’ve found four such ones), with an album entitled God First (14th July, 2017) forming the current end goal. If you’ve got old boxes loaded with funk and jazz, why not make use of it? This seems to have been the thought process of Mr Steadman, who appears to have decided that ramming in as many soul, jazz and funky groovy samples as possible and surrounding it with some special guests would be a good way to spend some time, which, to be fair, does sound accurate. This track sounds nothing at all like Bombay Bicycle Club, featuring a load of saxophones and a sample from Argentinian jazzist Jorge Lopez Ruiz, as well as a contribution from BJ the Chicargo Kid on vocals, who was apparently the first collaborator on the record as a while. It sounds exciting, for sure, and I’m hype that they’re all doing these individual projects, but I’ve found Toothelss to be slightly more my speed than this so far. Certain people will fall in love with it though, and I’m going to hammer through the album at some point, because funk jazz isn’t something that ever goes out of style, and I’m a big fan of everything about it other than the child-inspired vocals that dominate the first half. It has an absolutely top notch video as well, if you can get a look at it, definitely do so.
This is a catastrophically stupid name for a band. Yes, I am aware that this is not technically a band, but regardless. It is both all capitalised and has a redundant letter, two of the cardinal sins of band naming (unless there is an acronym involved, in which case it is acceptable). I know that the need to be easy to search on the internet is a pressing concern, but you’d think there’s a happy medium somewhere. Perhaps all the good band names really are taken. This was another youtube add I decided to stop and listen to, although admittedly I did save this one for later, as it were, as I was in too much of a rush to consume my previously scheduled video. But the spirit of engagement was present, and I did eventually go back and listen to this slice of atmospheric electronica. It’s from an album called Luneworks (which is a good name for an album, so they clearly do have it in them) that is supposedly imminent, hence the ad campaign, I suppose. It’s pretty good, although it didn’t really grow on me initially, perhaps being a little bit over-reliant on that airy intro hook which forms a refrain over the whole track. The vocals are nice enough, although they could have really come from anywhere – this dude is from Ireland, maybe a bit of geographical colour might have made more of an impression on me. Overall its fine but it didn’t really grab me in the same way as say, Makeness did.
Ah, the 90’s, when alternative rock/metal was king. It was a different, simpler time, and produced gems like this, which still kind of sound good even though they really shouldn’t. It’s from the 1994 album Troublegum, which I applaud as a name because if you’re going to go for puns you should probably go all in. It’s not the type of music I would associate with heavy punnage, but I guess people from all walks of life can enjoy the humble art of pun, plus, this was apparently the closest thing to a breakthrough album Therapy? had, so the puns clearly worked well for them. These guys are from Northern Ireland, which I don’t really view as a hotbed of this kind of music, but I guess lots of people were making this kind of music back then, and it doesn’t take a huge leap of logic to work out that these guys probably had a lot to angsty as a bunch of kids growing up in Norn Iron in the 70’s and 80’s. Anyway, this barrels along enjoyably (it’s only two and a half minutes, hooray for brevity), and while it is thoroughly “of its period”, it’s still a good little reminder to when we were all young and angry about our lot in life. Unless you weren’t, in which case I would suggest listening while thinking about the last time you stubbed your toe.
No, I don’t know how that name is supposed to be pronounced. I recommend just giving it a swing and seeing how it goes. All I know about this band is that it comprises of two dudes, Morten Myklebust (fantastic name) and Nils Martin Larsen, and that they have produced this song, which I quite liked when I heard on the radio the other day. It’s begins with a fairly minimalist, bitty (almost dub) sort of feel, which contrasts nicely with the smooth pleasant vocal, before it expands into a more sweeping number rounded out with wobbly synthesisers and percussive beats. After this crescendo they elegantly strip the whole thing back away again towards the end – I always appreciate unusual song structure that doesn’t get in the way of the actual song, so this was a nice treat. It also does a good job of not hanging around too long, and the ending really does it for me: good use of silence without sounding over indulgent is a skill. Apparently, this song is about when familial love moves from help to hindrance, which I’m sure a lot of people can relate to, although I personally quite like my family so don’t see that as a limitation. Neat song, and If you like downtempo electronica, these guys could be a hot new thing to check out.