Cultfever - Animals

Since their debut self-titled LP was released at the tail-end of 2011, Cultfever's follow up has been eagerly awaited, with pulses ready to race and feet ready to dance to their unique brand of high-powered electronic pop. 'Animals', expected to be included on their second album, was let loose back in February this year, but has been receiving deserved attention once again since a new video appeared in June.

Brooklyn-based duo Tamara Jafar and Joe Peter Durniak appear to live and breathe music, and specifically show dedication to their own creations with obsessive-amounts of time spent recording and working on new material. This commitment clearly pays off, and is enjoyably evident in 'Animals'; a beat-happy track with no small-amount of cheery synth and dynamic vocals. Durniak's arrangement and production is top-notch, and Jafar's voice moves comfortably throughout the imaginative lyrics from a breathy and sultry delivery of a verse to a sudden powerful call.

'Animals' is an irresistible, groove-filled example of Cultfever's abilities.

Official: cultfever.com
Facebook: www.facebook.com/cultfever
Twitter: twitter.com/cultfever
Bandcamp: cultfever.bandcamp.com/
YouTube: www.youtube.com/user/cultfever

"I was the drunk rhythm guitarist who wrote all these weird songs." - Robert Smith

There's Talk - Tiny Strands EP

Initially conceived as a solo project by multi-instrumentalist Olivia Lee, the addition of Kellen Balla and Young Lee turned There's Talk into a three-piece. Following on from their first single in May, this week has brought us the release of their debut EP 'Tiny Strands'.

A band combining folk and electronic elements, this is no more apparent than in the opening track (and single) 'The Salt', where the fragility in Olivia's vocals are beautifully accompanied by - to begin with - just the steady and simple steps on a piano. An occasional drumbeat marks each line like a lamenting heartbeat.

 And you walked on your own
 Heart out... teared.

As we reach the middle, and head towards a beautiful and bitter-sweet ending, further electronic drum loops are added; a mix that could have felt disjointed and too unfamiliar, yet instead manages to sound appropriately thought-provoking.

'Lint And Feather' is perhaps more traditionally folk with a guitar and banjo taking the spots as the key instruments, coupled with soft harmonies throughout the woebegone words.

 And I lied to you
 And I tried to lose you

Placed at the centre of the EP, 'Hummingbird Place' takes a very defined turn two minutes in. The picks and strums upon the guitar are pushed aside without warning, as synth and drums take over. Even the vocal delivery adjusts, bringing a more serious tone as the final lines reaffirm what the instruments have declared:

 Everything changes
 In this hummingbird place

Penultimate track 'Slip Light Gold' feels purposely restrained as though the song is tentatively circling, searching for a chance to declare itself, to find the chance to speak up. The music builds through crescendos, only to fade again and give space to the gently haunting voice that inches towards its proclamation. This is a song that tells a story as much through its careful arrangement as its lyrics.

In contrast, the closing track 'Tiny Strands' is a lot more direct in its quest. Lacking the depth of imagery and metaphor that its predecessors explored, the words are quickly clear and all meaning is succintly revealed.

 I need to know what I mean to you 
 So long ago since I felt the truth 
 And if there's another 
 Won't you let me know 
 And I'll stop waiting for you 

These earnest messages are projected with the movements of a subdued guitar as we reach the climax, where melancholic harmonies of "oohs" and "aahs" create a chilling, and saddening, aural envelope.

This debut EP reaches a hand out to your emotions, beckoning you to take a trip... a trip that may well be sombre and grave, but one that is also breathtaking, moving, and addictive.



Bandcamp: therestalk.bandcamp.com
Facebook: facebook.com/TheresTalk
Soundcloud: soundcloud.com/therestalk
Tumblr: therestalk.tumblr.com/
Twitter: twitter.com/therestalk
Instagram: instagram.com/therestalk

"You must pass your days in song. Let your whole life be a song" - Sai Baba

Marking Marks - Barcodes

A few songs manage to pull me in immediately, when a wonderful intro promises something special. Sometimes, admittedly, I end up feeling that those first few bars were sadly all the track had to offer. Occasionally, I'm treated to a journey that is a constant pleasure throughout. The latest single from Norway's Making Marks (previously known as mylittlepony) definitely offers me the latter.

"Barcodes" begins with a gentle guitar riff that manages to flutter the heart within just a few notes, somehow calling up wistful emotions far easier - and quicker - that one might expect. The male/female vocals that follow are harmonised beautifully, singing of heartache and a return home, and always delivered with a smooth and modest tone.

With an album expected very soon, Making Marks have caught my attention in a gentle and fascinating way: "Barcodes" sounds like falling in love.

Official: makingmarks.com
Tumblr: makingmarksofficial.tumblr.com
Facebook: facebook.com/makingmarks
Twitter: twitter.com/makingmarx
Bandcamp: makingmarks.bandcamp.com
Soundcloud: soundcloud.com/making-marx
Label: http://fikarecordings.com/

"Drums usually seem to tune themselves" - Levon Helm 

The Understudies - Erika K

The latest single from London-based guitar-band The Understudies may be just a few breaths over two minutes long, but 'Erika K' can be suitably labelled as "short and sweet". The track and its video have been floating around online for a few months now, along with promises of a debut album, but this week marked the song's official release and is a perfect excuse to listen once again.

Wonderfully catchy and fun, 'Erika K' bounces enjoyably with a tale of hormonally-charged adoration. The sounds of the dinging glockenspiel and emphatic trumpet keep the spirits high throughout whilst lead singer Brian Bryden's vocal delivery is spot on.



Bandcamp: theunderstudiesuk.bandcamp.com
Soundcloud: soundcloud.com/the-understudies-1
Twitter: twitter.com/Under_studies
Facebook: www.facebook.com/pages/The-Understudies/104864633435
Label: oddboxrecords.com/

"Like family, we are tied to each other. This is what all good musicians understand." - Billy Joel

Our Krypton Son - Gargantuan

Our Krypton Son's eponymous debut album went down a storm following its release in November last year, showcasing the songwriting talents of man-at-the-helm Chris McConaghy. With a possible new EP rumoured for later this year, third single 'Gargantuan' was released last month to keep us all happy during the interim.

McConaghy's vocals are typically restrained at first, delivering the verses with a low Bowie-esque ease that then parts to give space to a thrilling jump in register and volume for the chorus - a perfect, and smart display of contrast for a song about the immense glories and trials of relationships.

'Gargantuan' is a rousing, thumping crusade driven by an infectious piano-bashing beat, leading us to a final explanation of its march within the last lyrics of the song.

 "And the whole world trembles when my love stomps
 And the asphalt shatters when my love stomps"

A stand-out track from the album, this is a well-chosen single accompanied by a pair of b-sides that flaunt McConaghy's stylistic range: the acoustic and collected 'Bring the Flood', and the Procol Harum-harnessing 'How Long Must I Dream'.

Tumblr: fleasanddiamonds.tumblr.com
Facebook: facebook.com/pages/Our-Krypton-Son/185903978117238
Twitter: twitter.com/Our_Krypton_Son
Label: smalltownamerica.co.uk/artists/our-krypton-son
YouTube: youtube.com/user/OurKryptonSon
SoundCloud: soundcloud.com/chris-mcconaghy

"To stand up on a stage alone with an acoustic guitar requires bravery bordering on heroism. Bordering on insanity" - Richard Thompson

Alisha's Attic - Stay Will U Stay

Comprised of sisters Karen and Shelly Poole, Alisha's Attic were probably one of the first groups that I ever truly embraced: actively searching for all their singles, and repeatedly listening to their music. Their 1996 debut, 'Alisha Rules The World', is still one of my favourite albums and I continue to play it regularly (and not just as a nostalgic attempt to remember when I was a teenager). Soon after their third album in 2001, 'The House We Built', they were sadly dropped by Mercury Records and the duo ceased recording together.

Four years later, I discovered that a fourth self-produced album had been made available by the girls. 'The Attic Vaults 1' (a 'Vaults 2' was apparently planned) was a collection of previously unreleased songs that had never made it onto their previous albums, and so the tracks were put together as a final thank-you to their fans. Needless to say, I bought a copy as quickly as possible and soaked up the "new" music.

The penultimate tune, 'Stay Will U Stay', is the stand-out track for me and definitely deserved to have reached a wider audience, although it is difficult to find a place for it amongst the songs on their three albums. With just piano accompanying the sisters' always-beautiful harmonies, the track feels stripped back and raw, a sound that is complemented fully by the sincere lyrics. Perhaps if it had been included on a previous release then further instrumentation may have been added during production, but I am glad that it has remained as it is: a tender, gorgeous reminder of what Karen and Shelly Poole achieved together.

As with Nik Kershaw's 'So Quiet', 'Stay Will U Stay' is on the list of music I intend to transcribe into a piano score one day.

Since Alisha's Attic, both of the sisters have remained in the music industry: Karen has successfully written for many other musicians whilst Shelly has also continued to record, both as a solo artist and in current band Red Sky July.

Alisha's Attic:

Facebook: www.facebook.com/AlishasAttic

Wikipedia: en.wikipedia.org/wiki/Alisha's_Attic

Karen Poole:

Twitter: twitter.com/kazpoole

Official: www.karenpoolemusic.com

Shelly Poole:

Twitter: twitter.com/shellypoole

"Songwriting's a weird game" - Keith Richards

Minko - Creature (Songs 5-8)

The second in a planned series of six EPs, 'Creature' follows on from its predecessor 'Sybil of Delphi' and provides the next songs from singer songwriter Minko. Initially exploring electronic music production, she decided a change was in order and moved from the hustle and bustle of London to the relative peace and quiet of Cornwall, where she surrounded herself with acoustic instruments and began to write and record. Over fifty songs were created, and 'Creature' is the collection of songs 5 to 8.

The opening title track is a live recording, featuring Steven Havenhand (late 80's Pulp guitarist) and Nick Duffy (The Lilac Time joint-founder) who provide assistance with guitars. Minko's layered vocals create a wide, spacious sound over the strums and picks, and is particularly enjoyable and evocative during the stretched interjections between verses.

Once the waltzing rhythm begins playing on the Fender Rhodes organ, the second track's title - 'Monsieur Zola's Amazing Carousel' - makes perfect sense: the melodica's involvement only serving to enhance the fairground-esque sound. Lyrically the song discusses how, in modern life, perhaps we have lost sight of life's meaning and have forgotten the many great steps and achievements that have brought us to where we are today. Name-dropping past philosphers, poets and writers, we are brought to the final lines which bring together the words and music beautifully:

 "If 'the child is father of the man',
 What would our ancestors say?
 If Freud and Buddha sat together on the merry-go-round
 And put the brakes on today?"

By contrast, third track 'Child Of Four' is lyrically sparse, but is no less indicative of Minko's often-haunting arrangements. The plink-plunk of the kalimba may continue the sense of innocence that the title suggests, but the rest of the instruments are more concerned with evoking a constant, but subtle, melancholy through a steady stream of repetition. Despite this, the song holds interest throughout until a thumb flicks the final note.

'The Owl Song' finishes the EP mostly as an instrumental, with Minko's voice present in just a few words and "da-da-da"s, but a story is still told nevertheless.

Compared to the previous release, 'Creature' is a darker collection of songs that sounds like it has been carefully nurtured amongst a broad range of musical influences. With her captivating voice and obvious skill at combining instruments to compliment her desired theme, Minko has brought us a mesmerising record.



YouTube: www.youtube.com/felinecreature
Facebook: www.facebook.com/pages/Minko/185304241493861
Twitter: twitter.com/minkomusic
BandCamp: minko.bandcamp.com
SoundCloud: soundcloud.com/minkomusic
Official: minkomusic.wordpress.com/

"All music is folk music. I ain't never heard a horse sing a song." - Louis Armstrong