2017-08-15 06:06:11 UTC
“Seventeen, Baby” hooks from the get-go, with late-night brass and a smoothly paced rhythm section establishing the feel. The vocals begin with a subdued presence, though escalate as the track progresses, going as far to compare to Jeff Buckley’s emotional presence at points.
The “seventeen, baby” pause – followed by the smattering of brass – is an excellent mid-point placement, guiding into a final minute that’s beautifully capped off by a vocal turn into smooth R&B, for a fleeting moment.
"Seventeen, Baby" started out as purely electronic track made by Richard, the guitar player. "We liked it very much and started experimenting with it, playing it together live and it slowly formed to its current form," the band explains. "There were, however, empty parts in the beginning and in the middle and we immediately felt that trumpet would do magic there. Fortunately, we have a friend who is a trumpet player and he played a beautiful trumpet link in the parts we wanted and even in other parts of the song to enhance the emotion. It is the only track that has a guest musician in it from the album."
"We´re kinda like black sheep on the scene, a four-piece: a natural shredder, a drummer, a singer, and a misanthrope. Our history began sometime in the fall of 2010. Since then, we´ve played any genre that the critics and fans could come up with. We come from a relatively small town of Prešov, in a relatively small country of Slovakia, so we´re relatively humble but somewhere deep inside, everyone of us wants to sell out and buy a roadster. Our mutual goal is to be idolized sometime in the future, just like motivation speakers or cat videos."
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.