We're through.

Time for something new, we'll let you know as and when.

Kisses. x

Partner Podcast: Labelled Independent – The New Music Podcast – Episode 24 – The Final Countdown

Another collection of brand new tracks from the UK independent music scene, plus news on all the brand new Labelled Independent projects coming your way in the new year…..presented by Steve Boniface

It’s all free, and you can get involved by going to http://labelledindependent.podbean.com/ or searching for ‘Labelled Independent’ on iTunes and subscribing. You can also subscribe here - http://bit.ly/labelledindyitunes - subscribers receive every episode automatically and can enjoy Labelled Independent exclusives too!

Here are the tracks, all out now:



‘Sweeten The Deal’ by The Deadline Shakes (Flowers in the Dustbin Records)

Very early days for this band, this is their debut release. A very strong track, upbeat and catchy without being cheesy, this is an excellent start from the Glasgow group.

http://www.thedeadlineshakes.com/ - http://flowersinthedustbin.org/


‘Only Child’ by Trapped In Kansas (Overlook Records)


Scottish math rock band from Overlook Records’ increasingly strong roster, this single demonstrates a real skill with writing and cross-rhythms once it kicks in.

https://soundcloud.com/trappedinkansas - http://overlookrecords.com/


'Arabella’ by Crystal Bats (Unsigned)

Suffolk based duo Crystal Bats return to the podcast for a second time with this airy, 80’s tinged tune that swims in jazzy chords and reverb.

http://crystalbats.com/


‘John Condon’ by Mary Dillon (Black Lane Records)


Beautiful, melancholic folk track accounting the experience of a 14 year old boy’s role in World War 1. Simple guitar and vocal combination is devastatingly effective. Upcoming album, ‘North’, is out January.

http://www.marydillon.com/


‘Heartbreaker’ by Alice Russell (Tru Thoughts)


Brilliant track with a real foot-tapping groove, funk and soul infused sound and a great vocal performance. The production gives it a great retro flavour too.

http://www.alicerussell.com/
- http://tru-thoughts.co.uk/


‘I Am Certain’ by Among Brothers (Too Pure Singles Club)


Part of a double AA side with ‘I Do Not Believe’, this is a really well constructed track from the Cardiff sextet. Rhythmic and percussive, it would be a treat to see live – there’s a lot going on here.

http://www.amongbrothers.co.uk/ - http://www.amongbrothers.co.uk/


‘Attack The Brain’ by Karl Phillips


An intriguing mix of rock and rap, there are a lot of dynamic aspects to this track and the drum rhythms and vocal delivery blend well. The drop down segments keep things fresh. 2nd album coming next summer.

http://kptmr.tumblr.com/



‘Spiral Sounds’ by Algernon Doll (Newtown Products)


Complex acoustic guitar picking is overlaid with a smooth vocal and backed up with simple but effective bassline in this altfolk track. Debut album ‘Camomile’ is out now.

http://algernondoll.bandcamp.com/ - http://www.newtownproducts.com/


‘Hairy Grizzly’ by Happy Ol’ McWeasel (Sindian Underground)


Really interesting mix of heavy rock and folk tropes, mixing driving rhythms, distorted guitar and the fiddle. Album ‘No Offence’ is out now.

http://www.happyolmcweasel.com/ - http://www.sindian-underground.com/


‘Railway Line’ by Satellites (Vesterbrother/PIAS)


Lovely folk influenced pop track that builds brilliantly throughout from a simple piano part to something much more. This is a blend of simple elements that makes for a something much more than the sum of its parts.

http://www.satellites01.co.uk/ - http://www.discogs.com/label/Vesterbrother


‘Shel’ by David Migden & The Dirty Words (Unsigned) – TRACK OF THE MONTH


A narrative song in the great tradition of country folk, ‘Shel’ is available for free in return for ‘Liking’ the Dirty Words’ Facebook page. Well worth a look, this is an incredible live band, album ‘Killing It’ out now.

http://www.davidmigdenandthedirtywords.com/ - http://www.facebook.com/pages/David-Migden-and-The-Dirty-Words/206725762700891


‘Ladykillers’ by Gaptooth (Gaptooth Sound)


A similar concept to the Killers (although the sound is very different) this marries dance and indie tropes. The highlight is the vocal delivery in the chorus, but a great track all around.

http://www.gaptoothmusic.co.uk/


To hear all these tracks now, subscribe to Labelled Independent, our partner podcast, free by visiting http://bit.ly/labelledindyitunes - in doing so, you’ll make sure you’re always among the first to receive our new music to your device of choice, and all for free.

Alternatively, you can hear individual podcast episodes at http://labelledindependent.podbean.com/ where you can also keep up to date with plenty news & views from the UK independent music scene.

By
Steve Boniface - http://labelledindependent.podbean.com/

Links to our pages:

Subscribe to the podcast with iTunes: http://bit.ly/labelledindyitunes

Twitter: http://twitter.com/#!/LabelledIndyPod

Facebook: http://on.fb.me/labelledindyfacebook

MERRY LUDACRISMAS



  Luv, 
     Us. xo

NEW - MØ

Scandinavian countries do siren-esque female vocalists very well. Another name to add to the list of Lykke Li, Niki & The Dove and Karin Park is blog-tipped Danish singer-songwriter, MØ. Hip, soulful electronic pop, her name is apparently old Norse for virgin or maiden, the latter being the title of one of two tracks that saw her sign with Sony’s Scandinavian arm recently.
 

‘Pilgrim’, is R&B inspired electro-pop at its catchiest; complete with handclaps, treated brass and scaling synth that wouldn’t sound out of place on an 80s pop-disco or 90s R&B girl group record. After recently playing showcase events in London and New York, MØ has just been included in the Blog Sound of 2013 long-list along with Palma Violets, Savages, AlunaGeorge and Haim; a breakthrough
year awaits.

 

Christian Allen.

Everything's Amazing (Nobody's Happy)

You may remember a while back, we wrote about Olympians's Book Club and how they were giving away some real cool stuff if you were to subscribe... It's still not too late, you know? If you subscribe now (you have until December 3rd), you can get the latest offering, 'Everything's Amazing (Nobody's Happy)', alongside a limited edition mini-zine, all four CD singles in handmade card cases, kept in a hardback, hollowed out book for safekeeping, a limited edition poster AND an instant download of over 20 digital tracks, because who on earth has the time these days to wait in all week for the postman?


So go on, subscribe to the book club here, and make somebody's Christmas.

Lillian Todd Jones, 'Getting Over You'

Every good emotion needs an anthem. Somehow, though, when it comes to affairs of the heart, it seems there's more emotions than there are songs - which should be impossible, considering the number of songs ever written about the different stages of love in every language throughout the whole of history.

Lillian Todd Jones has made a unique anthem about not being able to move on.

Crystal Bats, 'Arabella'

We're not too sure what to think about Crystal Bats' song and video for 'Arabella'. Either they're England's fourth best 80s tribute duo or MacGyver went band manager and built a time machine from used gum, a broken refrigerator and a wank-stained sock and scarpered two unwitting ponces to a modern day recording studio in an effort to seed future trends that he will soon capitalise.

Crystal Bats swear they're not working a grift. We take them at their word that there's no wink and nod, and that they're levelled-up to full-on Hall and Oates disciples. But we also can't help but be somewhat cynical, though we are impressed with their awesome hair.

Nils Bech, 'When You Looked At Me'

By Verity James

Rather than making a record in his native Norwegian tongue, Nils Bech manipulates his second language, and puts it to use as an instrument of haunting expression. The result is awkward yet powerful - especially when he to inflects androgenous vocals and melodies. And it distinguishes him from the male/female boundary which so heavily inspires much of English speaking music.

The call/response style that Bech imitates avoids any reflection from a potential 'other', thus remaining a seemingly unified first person statement. This is visually represented by the distorted, bizarre and elegant movements that embody the actors in this video.

The cadence in this piece is off though, and he talks about an ‘extreme duality’ which resonates to some degree with the inadequacies in himself that he explicates within his lyrics.

Like the androgeny and value-neutrality portrayed both lyrically, instrumentally and visually, ‘When you looked at me’ leaves a residual indifference.

In its moment, it pleases aesthetically. But it also leaves no distinct impression.

Port Isla, 'Sinking Ship'

By Verity James

Port Isla’s debut single, ‘Sinking Ship’ comes as somewhat of a surprise. On first listen, it strikes you as a strong competitor for the likes of the established and revered Fleet Foxes, but doing a little research on Port Isla reveals that they are somewhat unknown on the national folk scene.

'Sinking Ship' is a powerful debut with beautifully crafted instrumentals, persuasive drops and harmonious yet raw vocals. The only downside perhaps is that it seems a little too polished. And in gifting listeners with more of a visceral sound would set Port Isla above the abundant alt-folk bands the UK is producing this year.

Despite this, ‘Sinking Ship’ will no doubt triumph and bolster Port Isla’s growing reputation.

The Cast of Cheers, 'Trucks at Night'

We are totally in like with Cast of Cheers at Risk & Consequence HQ. It's known. If not, it's official.

And we definitely like their new track, 'Trucks at Night'. It's got a great late 70s, Victoria Road, Leeds|Gang of Four|Mekons thing going.

The guitars are serrated, drums are kicking, and the vocals actually push the edge of what's currently rocking dance halls and headphones - especially with lyrics like 'woke up in the western world as a western child and I can’t find God'.

L'Impératrice, 'L'Impératrice'

Another song, another saxophone solo. Our opinion on the rise of the sax solo is known. 

We like this track and video from L'Imperatrice and our friends at Cracki Records, though. It's got a solid roller disco meets 400 Blows vibe. 

Cara Mitchell, 'Little Birdies'

If she sounds naive and it's because she is. Cara Mitchell is a Scottish lass of just 16. But her music has maturity that her talent will can only get better with age, if that's possible.

In the meantime, 'Little Birdies' is a wink and calm, knowing smile.

Silicon Ballet, 'Slowly Slowly'

Silicon Ballet has a new single. It's called 'Slowly Slowly', and it features the gorgeous chamber pop sound we've come to expect from Belgium's best mystery band.

The track's a bit melancholic. But that's not a bad thing. Think of it as a new relationship counterpoint to the National's 'Apartment Story'. It's a moody track that puts music to time sat on the settee, trying to figure-out where everything is going and if anything will be aight.

I Am In Love, 'Palm'

We have a soft-spot for Midlands bands. It's partly because we like to call people 'duck' and have a love for cobs. But, also, the Midlands - especially East Midlands - are and will always be under-represented.

Maybe I Am In Love will catch folks' attention and help get the spotlight on the Midlands scene. They're a Leicester band. And their sound is pure microKORG magic that properly deserves to be used for some 80s-small-town-boy-moves-the-big-city-montage.

IROK, 'Earthy Girls'

I've been working a circuit of German dance clubs recently. I like to think of it as empirical|sociologic research into the pull scene, to get out and get a feel for what's going-down.

However, my research concludes that standard night club DJs suck. It's not a real revelation. But it sucks to know toerags get paid to hit play and let Beyonce or Skrillex do the work.

It's crap. Letting the DJ hit play lets suits in office towers set the tone for our nights on the town. The pinstripes had their chance, and they sold-out for expensive coke and plastered skanks they eventually made their wives. Worse it means we're dance slaves to their crap taste in music.

Us, though, we need to live, to have our own scene, to have the time of our life. And it starts by not letting the DJ hit play; the dude in the booth waving his arms is just a middle man, a pusher for everything that's wrong with the scene.

In the near term, whilst we wait for the dance revolution to happen, give IROK a chance. Their noise can best be described as pagan, and they're doing everything in their power to destroy the play button and DJ booth.



By Jim Morrow