INTRODUCTORY EP Falling Star showcases someone who’s sure to be a rising star, even if he’s not quite at his heavenly best yet.
Samuel’s short and sweet iniation is a production of electronic bleeps and bass which although serving a purpose, are only a launchpad for the artist’s vocal.
Because in the crowded constellation of soulful electronic artists, where the likes of Jamie Woon and James Blake shine bright, the raw yearning tone of Samuel’s voice should set him apart.
His pipes are rich and emotional, but with an unusual edge – at times he sounds like Frank Ocean, at others he finds unusual sounds, like the hints of Ezra Koenig I detect on Death Star Wonder.
Samuel should be a rising star, and this is a decent launchpad for him – he needs to add fuel to this with his full offering now.
IRISH two piece Kid Karate really belt them out.
The group’s new EP, Lights Out, sees vocalist/guitarist Kevin Breen and drummer Steven Gannon shine with their sheer energy and verve.
The sound harks back to the last great golden age of guitar bands – with the pair sounding akin to a younger Young Knives in places, with hints of early Bloc Party and The Rakes et al, all played with a DIY White Stripes attitude.
There’s a definite need to polish up what’s going on here, but this teaser has enough of a kick to it for me to want to hear much more from Kid Karate.
EDM artist Lorn already inhabits a bit of a shady corner of the scene – but new EP Debris sees him burrowing even further into his dark art.
On this release his trademark shady electronica is still clearly the work of Lorn, but it’s somehow more alienated, more haunting, and more arresting than ever before.
Here the beats have taken a back seat to the overall production, and it’s a genius step – the already otherworldly soundscapes have been jarred, smeared and enhanced by hours of experimentation in the studio, and the EP is all the more intense for him trashing his drum emphasis.
In the bumph that came with this review copy, Lorn himself says he took his original samples and “blended them with synths and guitars, ran them back and forth through tape, burned them through analog valves, recorded them playing inside of themselves”.
Of course there are beats here still, clicks and stomps and deep rumblings and all, but on Debris Lorn seems to have stepped up and away from mere drumbeat creation – this is a dark and foreboding landscape I cannot wait to explore more of when the full LP drops.
THE 4-four track EP, when done properly, has a particular soft spot for me – and Frightened Rabbit’s The Woodpile leaves me beaming.
Normally the format works best as a precursor to an album, with just enough material to tease a great band’s forthcoming sound but too much so the listener is left wanting more.
And although the title track here already sits on their Pedestrian Verse album, the Scottish indie rockers have got fully on board with the format, throwing three new tracks at fans – Default Blues, Radio Silence and Candlelit.
While the first two of these extras may just be pretty straight-up indie rock tracks, Candlelit and the title track show off Frightened Rabbit at their emotional soaring best, and as a whole, The Woodpile will only fuel the passions of fans of the band.
THE last release from The Bug, the alter ego of Kevin Martin, London Zoo gathered nothing but mass critical acclaim five long years ago – and judging by the Filthy EP, The Bug is set to clean up once again.
Like a mud-splattered British version of Major Lazer, this short teaser of an outing sees star turns from dancehall vocalist Daddy Freddy and hip hop MCs Danny Brown and Flowdan, who all seem to enjoy being waist-deep in some of the filthiest production I’ve heard this year.
Heavy atmospheric beats and murky basslines lurch out at a grinding pace, bringing the absolute best out of these frontmen.
And when you consider that this is a mere precursor for the forthcoming Angels & Devils full length, which features the likes of Death Grips, Gonjasufi, Grouper and more, you can’t help be excited for when The Bug finally dishes the dirt.
MINIMAL house is a bit like Marmite – you either love it or you hate it – and normally it’s not really my taste in electronic jams.
But I’m more than happy to raise a toast to the work of Howes.
The 19-year-old’s soundscape on teaser EP TD-W700/Leazes is a sparse, computerised one – but there’s a life breathed into these bare beats.
The tracks are pounding but never repetitive, and these are illuminated by the use of reconstituted, reworked samples such as the French speaking on Asiko or the brooding bells behind the intro to Leazes.
A great way to break my house music fasting, I’m looking forward to tucking in to a full length LP.
AS ELECTRONIC producer DAVIDS has been kind enough to offer up a free download for Sound Advice, we’ll refrain from calling him Davids, David’s, Dave, Davy, Davo, Dafydd or anything.
We love you as much as you love CAPS LOCK, DAVIDS!
DAVIDS said: “When I moved back home with my parents I started making electronic music.
“They didn’t seem to mind.
“The ‘0613EP’ doesn’t come out until June 4th.
“You’re getting to listen before my family does.”
So grab a copy of Right On, a track from DAVIDS’ forthcoming 0613EP by clicking here.