In a busy time for releases and especially bold singles, we linked up with Shauna of dreamscapers Ummagma and Shameless PR once more to check out a quartet which left potent trails in creative skies.
“The Truth was always designed to make people move, and it seemed logical to gear it up properly for the dance floor.” The words of I Like Trains vocalist David Martin explain the thoughts behind the Leeds outfit passing over the lead track from their acclaimed album of last year, Kompromat, to fellow Brits and friends Vessels to remix.
A track which centres on and harangues those in ‘control’ of our lives, The Truth was a striking and haunting part of I Like Trains’ last album. It had an instinctive if understated catchiness within its darkness which has now been uncaged within its remix. Even so the track also brings new tenebrific shadows to the agenda which engagingly wrap the greater manipulation upon dance-floor coursing bodies. It is a virulence which builds by the minute, the song’s extensive body urging greater participation but without defusing the cutting potency of a dissection of political intent and what lurks in the social dealings we all engage in.
Providing a fine new aspect to a striking encounter, Vessels and I Like Trains have united to compellingly escalate The Truth which is out now via Atlantic Curve and available as a name your price download @ https://music.iliketrains.co.uk/track/the-truth-vessels-remix
Surkov’s Dream is the new solo single from UK composer/songwriter Nick Hudson, the creator and leader of dystopian post-punk ensemble The Academy of Sun. It is also the first glimpse of his forthcoming new album Font Of Human Fractures, a taster which has got eager intrigue and just as hungry imagination lining up for its arrival.
Featuring Lizzy Carey on violin, Surkov’s Dream is a haunting affair which taps into inner darkness as easily as it inflames a conjuring imagination. Recorded and mastered at Church Road Studios by Paul Pascoe (Barry Adamson, Beat Hotel) and built around a MIDI instrument constructed from samples made by Hudson and Pascoe of the bass pedals of the vast church organ of St. Mary’s in Hudson’s home city of Brighton, the single narrates an oneiric monologue from the imagined subconscious of Putin’s Grey Cardinal. It weaves senses enveloping neo-classical seduction and ecclesiastical intimation within a gothic rapture and proved as suggestively nightmarish as it was invitingly captivating.
The just released track on https://nickhudsonindustries.bandcamp.com/track/surkovs-dream is pure fascination, potently invading thought whilst unveiling new nuances of suggestion and atmospheric incitement by the listen; so much so that the digital and vinyl release of Font Of Human Fractures on April 30th is already compelling.
One of last year’s choice outings was the latest album from Davey Woodward & The Winter Orphans and to cement its impressive and acclaimed presence the British outfit have just let free its new single, Bad Day, via A Turntable Friend Records.
Renowned as part of The Brilliant Corners, The Experimental Pop Band and Karen, Woodward has been stirring up just as potent attention and praise through his latest project with 2020’s second full-length, Love and Optimism, leading the way. Bad Day was the album’s opening track, an immediate incitement which easily hooked eager attention and comes as no less undiluted bait on its own.
The single is a fusion of indie rock and pop punk to simplify its sound; a song strolling in with quirk bent grooves and senses taunting riffs led by the lively landing of firm rhythms. Woodward’s distinctive tones are just as persuasive, soaked in the infectiousness which readily frequents the also post punk hued encounter with a great touch of The Pixies to it.
If you have yet to discover the individual adventure of Davey Woodward & The Winter Orphans then Bad Day really is no better way.
Lastly you should check out the new single from UK indie pop artist Léanie Kaleido. It is the lead track from her new album, How To Weigh A Whale Without A Scale, which is produced by Ride frontman Mark Gardener and given a great invitation to its release March 12th by All The Things I’m Made Of.
The daughter of Top Topham, the original lead guitarist in The Yardbirds, Kaleido creates warm and poignant pop nurtured, piano based ballads which within her forthcoming third album maybe have never been more warmly engaging and intimately evocative. Certainly the songs heard and especially the just released, All The Things I’m Made Of suggest so.
From the moment the first ivory key is firmly kissed and poetic syllable radiantly shared, the single captivated. Kaleido has a voice which caresses ears and imagination but courts the firmer punctuation of the dynamics of her piano and combined together they make for a lively and eventful affair within gentle melodic seduction. All The Things I’m Made Of itself has a bite to it, a breath of defiance and attitude to its elegance which just enthralled especially as further flavours and aspects are embraced.
With an instinctive need for noise, discord and wildness, pop balladry gets passed over far too often here but Léanie Kaleido and All The Things I’m Made Of had us gripped from its first breath…so enough said.
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Pete RingMaster 25/02/2021
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