We recently featured Me And My Drummer as a “Needle Drop” where we enthused over their beautifully laid back single, “Blue Splinter View.” Well, since then, they’ve gone and delivered another single and we reckon this one’s even better than the last—hence this week’s “Artist of The Week” status.
Me And My Drummer have been away for a while, taking their time to make sure their next album is 100% ready for the world to absorb in full. They have a lot to live up to—their critically acclaimed debut album The Hawk, The Beak, The Prey received a huge amount of praise across the board and so it’s no real surprise that the electro duo have been holding their cards close to their chest with their forthcoming album, Love Is A Fridge.
However, if their past two singles are anything to go by, we’re definitely in for quite a treat with this next album. As we’ve already mentioned, “Blue Splinter View” is a gorgeous Americana-influenced track that is an absolute delight to listen to from start to finish. Comparably, the duo’s most recent release “Pentonville Road” sees them fall back into their trademark electro-pop sound akin to Lykke Li and Bat For Lashes.
“When I was a kid there was always music playing in my house. My father had a record collection he was really proud of, and the songs of The Beatles, The Rolling Stones, The Doors, etc, could be heard by anyone passing by our house. This first contact with music probably influenced me much more that I will ever know.”
“I would look at the record covers, some of them were works of art themselves, other were nicely taken photographs. They were the faces of the music and meant much more than the lyrics to a boy who didn’t speak English. I still remember Steppenwolf Live’s cover. Man, that wolf looked cool.
Usually, meaningful music comes accompanied by meaningful images. Listening to a LP while looking at its artwork is a pleasure in itself which I doubt could ever be matched by staring at a computer screen on i-Tunes.
Connah Evans is a young singer-songwriter from North Wales. Yes, he sings introspective songs while strumming an acoustic guitar, but he supplements these basics with so much more, to a point where you end up with something more akin to Imagine Dragons or Circa Waves.
His latest single, “Wait For Me” with its lively guitars and drums that seem to almost skip, is a real earworm. After an initial listen, I was off to my lunch-break where I found myself humming the chorus without even noticing what I was doing—which I suppose for a good pop song is exactly what you want.
After releasing his debut Labels last year, Connah has clearly been busy, as the accompanying “Wait For Me” tour video shows him playing to numerous packed venues in a jaunt around the UK. This is all the more impressive as apparently Connah books most of his own gigs.
Brazilian-born Eric Taylor Escudero released his debut album We Were Young And It Was Morning in 2015—an utterly stunning collection of alternative-folk vignettes that definitely deserves your attention.
Escudero has recently released the free track “The Uncountable Colours Of The Sky” from the album, giving listeners outside of South America a chance to understand what his music is all about and what the album has to offer. The track is beautifully written and filled with sincere emotion and depth. It also features guest musician Ana Luísa Ramos on backing vocals who creates a wonderfully haunting and hypnotic effect within the song, complimenting Eric’s vocals perfectly.
We Were Young And It Was Morning reflects the themes of love, loss, nostalgia, and the difficulties of living modern city life. The album has a predominantly traditional folk feel and uses a diverse range of instruments such as the harmonica, mandolin, guitar, concertina, glockenspiel, and violin, allowing Eric to experiment with his arrangements that are both wistful and immersive.
Having already made a name for himself in Brazil, Eric is ready to let the rest of the world hear his music. Watch this space—we’ll be hearing more from Eric Taylor Escudero in the very near future.
We Were Young And It Was Morning is out now via City Lights Produces.
It’s Thursday, the East Coast has been battered by one of the worst blizzards the US has ever seen, and A Badge Of Friendship are back to keep your mind off it with their latest podcast.
This week see’s the gang chatting to Michael from NZCA Lines about his latest album Infinite Summer and the huge effect sci-fi has had on his music, and they also take a look at January’s upcoming releases with Andrew Trendell (who at this stage, is becoming the unofficial fourth host of the show due to how many times he’s appeared).
There also may be an argument about the correct preparation of potato salad—Ed reckons anything with less than potato, onions, and mayo can’t rightly be called potato salad. Other’s disagree. It’s a pickle.
Check out the full track listing for this week’s show below:
Right Hand Left Hand are an alt-rock two piece from Cardiff on the verge of releasing their second album via Jealous Lovers Club. With an impressive touring record, having supported Super Furry Animals, Los Campesinos!, and Funeral for a Friend, they are definitely ready for the big time.
With both members swapping guitars and drums and an extensive use of loops, their sound obviously takes cues from the heavier side of post rock, but they are absolutely not just revivalists. Incorporating elements of math rock and electronica—with metronomic, driving drums and looping layered guitars—they make an impressive amount of noise for just two people.
“Seat 18c” is the second release from their upcoming, self-titled album and it is relentless. Following first single “Tarts and Darts,” it begins with layers of fingerpicked guitar creating a very real sense of unease, and it’s not long before the obligatory riff breaks through driving the track forward. It’s reminiscent of Mogwai’s heavier tracks and definitely impressive. If I’ve any criticism it’s that it ends so abruptly, and to me it seems like the build-up deserved more. It’s a great song however, so do yourself and favour and play it loud.
Right Hand Left Hand’s self-titled album is released February 12th.
HAWK are no strangers to TVD—we’ve been big fans of previous singles “Glass,” “Hush,” and their beautiful EP “Clock Hands.” So it came as a bit of a surprise to find that we have yet to feature them as our Artist of the Week. This has now been rectified.
HAWK are one of those bands that has been quietly developing behind closed doors only to suddenly come out of the woodwork with incredible new material that blows everyone away. The band’s latest single “Once Told” is an extremely important one for many reasons. Not only is it beautifully written, it also delivers an important message that demands attention.
Following their previous single “Glass” which focused on the recent Marriage Equality Referendum that took place in Ireland, “Once Told” is a track that has activism at its heart—revealing dated mindsets as to abortion laws and wider issues around pregnancy, sexuality, and contraception.
One can never tire of a good harmony. Something about the sounds made by two or more intertwining vocal melodies is beautiful and often otherworldly. Twins Nicola and Helen Frisby have been creating such harmonies for years.
Now on The Frisbys’ second EP, “The Cause” they have used their harmonic talents in conjunction with some strong writing to produce a great six song collection. With tracks that deal with a wide array of issues, both of the lighter and darker sides of life, it’s an epic EP.
Lead track “Born and Raised” is a prominent moment. Released as part of the double a-side single along with “Give Into The Dark,” the twins’ songwriting shines with some fantastic use of melody and great hooks, kicking off the EP in style.
If you haven’t come across Berlin duo Me and My Drummer to date—do yourself a favor. I’m excited for their upcoming second album, Love is a Fridge from which they’ve released their latest single “Blue Splinter View.”
The song itself is wonderful—a laid back Americana influenced track with verses that sway back and forth, rocking gently before being blown away by Charlotte Brandl’s powerful vocals. However, as this is a video review and despite my enjoyment of the song, I have to admit being rather disappointed by the visual accompaniment.
The entire four and a half minutes of the video sees Brandl slowly rotating while singing the song, not moving except to occasionally change the angle of her head. Meanwhile, perhaps trying to emphasise the sense of openness that the Americana style often conveys, several different skyscapes are projected onto a wall behind her.