Gibberish is the experimental-psych duo of Derek and Lorie Bromley. Formed in their spare bedroom in Arkansas before moving to Los Angeles (where they now reside), Gibberish started out with looping live drums through effects, with Lorie playing bass and keys and Derek rounding things out with a melody and guitar after looping some sort of distorted beat. They enjoy surrounding their songs in textured, spacey blankets, but having a core of rhythmic, lo-fi percussive sounds anchoring the wafty synths and sparkling guitars.
“The new album Kneehigh was written right after we moved from Arkansas to Los Angeles,” the duo explains. “It’s about being in a sort of survival mode that we also felt was mirrored in a lot of ways by society at large around this time.”
“Feet Wet” begins in a luxurious psych-pop haze, gently leading to mellow vocals just prior to the one-minute mark, after an exotic and shimmering introduction of fluttering acoustics and sweeping vocal harmonies. The next four minutes showcase a budding, gorgeous sound that breaks around 02:23, though just briefly until it unleashes cathedral-sized psych-pop bliss in the final minute. It’s an excellent, majestic effort that shows what Gibberish do well: developmental psych-pop with a magical feel.
"Previously operated under INDIANS and my given name Soren Juul. Both these names had outlived their artistic roles for me. I needed something new and different. TWIMM is more outgoing - a new beginning and a new chapter of where I see myself as an artist and songwriter now. There are no disguises. "Blame" is a song you sing to yourself but also wants and needs an audience. It’s about fighting for all the best intentions, a fight to make beauty appear, but a lost battle. You have to be ok letting go of all the good intentions and maintain a little respect for yourself."
'1491' is the story of man climbing up the volcano Hekla to reach its summit (1491 meters). He won't succeed but understand while looking at the sky below that the most important thing is not to touch the stars but to keep on climbing on, doing things.
Sébastien Touraton runs the project heklAa since 2010. His music is piano-based and influenced by different genres, from post-rock to movie music in a neo-classical outfit. His next album is called '1491' and releases on Jan.11.
Kode Maya are an alternative-indie duo from Österbotten, Finland, comprised of.Henrik Sundström and Sebastian Jacobson.
The project started in 2014 as a one-time-fuzzrock-session, but eventually turned into a band with a more softer sound. In the Spring of 2016 their self-titled debut album was released, all songs recorded like poor musicians recorded in the old days, on a Tascam 4-track Recorder. A month later Loophole Factory EP came out, a more loopier lofi-sounding EP. A year later, Kode Maya's second album, ʼSkahftung, Baby!ʼ Was released. This time the 4-track was left at home, but the rest of the gear was brought to a small cottage in south of Österbotten, a little village called Skaftung. The whole album was written and recorded in two weeks.
In the summer of 2017, Kode Maya decided to work on just a couple of songs for two months, and see what happens when youʼre not in a hurry. The result is the newly released single ʼMosquito/Surrenderʼ. Kode Maya is a nostalgic duo, always using references from the music and culture that was popular during their upbringing, or even before. Hopefully not done in obvious ways, references from everything from Deftones, Steely Dan, Beastie Boys and Thin Lizzy, to old Swedish television shows can be heard on the new tracks. The skilled drummer Daniel Hjerppe was hired to play and record the drums. All the other instruments are handled by Henrik and Sebastian.
The Tambourine Girls are a four-piece band from Sydney, Australia. Formed by ex-Deep Sea Arcade guitarist Simon Relf, the band released their debut EP 'The End of Time' in 2014, and followed up with their debut, self-titled LP in 2016. Frontman Simon Relf has toured extensively as a solo act supporting Dustin Tebbutt and Megan Washington, and the band are set to release their second LP in early 2018. "You Don't See Me" is the first single from that second LP. The album is the first ever to be recorded at Golden Retriever Studios in Sydney, run by Simon Berckelman (The Philadelphia Grand Jury) and was engineered by Tim Whitten (The Go Betweens, Lupa J, The Church, Augie March) and mixed by Nick Franklin (Australia, Richard In Your Mind, Matt Corby). "This track is my take on Bob Dylan's 'Talkin World War III Blues.' There's a line in there that could save the world if it were considered more often: "I don't blame him too much though he didn't know me," explains Simon. The song has a driving, robotic rhythm contrasted with sweeping synth-like guitars and a loose, almost conversational vocal melody. The tension is released in the final verse with the bittersweet resolution: "I think you loved me completely in darkness, so that's where I'll be.""You Don't See Me" was released through MGM on 11/17. with an intimate NSW launch gig at Sneaky Possum in Chippendale on 11/23.
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.