WATCH: Catgod – ‘I’m Dead’ / ‘Killer Whales’

Catgod is a folk-rock project led by Oxford-based sibling duo Robin Christensen-Marriott and Catherine Marriott. ‘I’m  Dead’ / ‘Killer Whales’ is a double A-side release, with both songs inspired by the sea, and taken from Born Again, the band’s upcoming new album.

I’m Dead’ introduces the theme of death and rebirth that is the basis for the forthcoming album. It is sung by Cat, and has an air of ’60s psychedelia, and swirling, ethereal guitars. The song is accompanied by a pastoral video made by band keyboard player Patrick Bolton, placing the band in their everyday and natural surroundings, perfectly capturing the theme –  the mystery of life and nature. An exquisite soundscape that’ll captivate both the eyes and ears with its glistening allure. 

Killer Whales’ is a dream-like, ambient piece sung by Robin, and inspired by his haunting dreams of swimming with those magnificent and terrifying creatures. With an enchanting flute intro by Cat, the strangeness and the atmospherics of the song will hook you from the start. ‘Killer Whales’ is accompanied by a live video that captures the twinkling majesty of the band perfectly. 

What I like about this band is that they are unafraid to mix genres, and the results are both surprising and mesmerising. Judging by these singles, there is much to look forward to from the upcoming album. Both tracks have a spring-time feel featuring beautiful vocal harmonies and multi-layered instrumental palettes which broaden the band’s sound, taking the listener to weird and wonderful places. 

Born Again, the new album from Catgod, is set for release this Spring.

Fi Ni Aicead
@gotnomoniker

Photo Credit: Patrick Bolton

Track Of The Day: daze – ‘yourself’

According to daze, the writing of ‘yourself’ only began towards the end of last year. Mind you, even by the standards of most DIY artists, their recent output verges on the prolific, with this single following two self-released EPs and a single, all since July 2020. Having met in college in 2017, their later releases reflect a second stage for the pair; a shift into dreamy indie-pop, and away from singer-songwriter fare. It’s possible that this recent prolific spree is due in part to lockdown, which probably suits the creative process of a self-described “bedroom pop” act, and daze – who are comprised of duo Daisy and Scott – seem to have mastered the sub-genre even by this early stage of their career.

For starters, ‘yourself’ comes packaged in what, judging by their Bandcamp, is something of a signature style for the duo, with its kawaii-leanings in coloured pencil evoking ’90s tech and kids’ cartoons. That return into youth typifies the best of indie-pop, right back to the Sarah Records days, although the piano loop that whirls through ‘yourself’ arguably has more in common with a house record. Between the piano and the drum machine hits, there’s a little of the pop-dance that dominated the charts some fifteen years ago in the track, but intermixed here is dream-pop guitar that shimmers in layers and layers, gently building with emotion amidst flecks of picked out notes, and echoing around Daisy’s impressively honeyed voice.

With a neat line in richly emotional lyrics, ‘yourself’ tells the story of a friend of Daisy’s, and their struggles with their mental health. “Do you know what I’m on about?”, Daisy sings, “I haven’t seen your colour lately” – a neat nod to the near dayglo imagery of the single’s cover sleeve, with the percussive nature of each line dangled delicately around the lilt of the track’s melody. Loosely structured, the song’s lyrics repeat whilst building with subtle changes, drawing the listener in, before, at the song’s close, they drape over each other and then fade out.

Featuring the pair running in slo-mo towards the camera, in a colour-saturated version of the woods, the self-directed video is oddly reminiscent of Pixies’ ‘Velouria’, although with a somewhat less demented bent and slightly more vintage sportswear. That said, the video shows a couple of people who are creatively in-sync, and happy to deal in an aesthetic that prizes honesty and expression over cool, sleek production values.  And the truth is, that what the band lack in budget, they more than make up for in musical ability. ‘yourself’ belies both the duo’s age, and their origin story, and suggests that while they might soon make it out of the bedroom, staying in has helped them show their colours.

‘yourself’ is out now. Download via bandcamp and listen on Spotify.

John McGovern
@etinsuburbiaego

Track Of The Day: Riotmiloo – ‘Vile Butterflies’

Abrasive beats, pulverizing electronics and seething vocals mesh together on ‘Vile Butterflies’, the latest single from London-based industrial riot grrrl Riotmiloo. Released as part of Chaos Theory’s fundraising compilation album 11 Years Of Chaos, the track bristles with intense unease, mimicking the nervous twitches of the wings of the titular insect.

“The idea behind this song is to not to let negative thoughts suppress your potential. Don’t listen to your vile butterflies,” Riotmiloo explains. Due to the on-going Covid-19 pandemic, Riotmiloo and London-based music promoters Chaos Theory have been unable to perform live shows at one of their favourite venues, The Black Heart in Camden, for over a year. ‘Vile Butterflies’ is one of twenty-six tracks on 11 Years Of Chaos, a compilation album that aims to raise much-needed funds for the venue, as well as promoting many of the artists Chaos Theory have worked with too.

Currently available on bandcamp, 10% of the profits made before 22nd March will be donated to the #SaveTheBlackHeart campaign, with other profits being shared fairly between artists and Chaos Theory so they can invest in more livestreaming equipment. The alternative, genre-defying collection features tracks from heavy rockers Vodun, a beguiling Cocteau Twins cover by Maud The Moth, as well as contributions from Brigitte Handley, Kate Arnold, Prisa Mata, Årabrot, Black Orchids and more.

The album is a fierce, cathartic soundtrack for escapism, but it’s also a heartening reminder that the DIY music community provides a crucial support network for artists, venues and promoters during this unpredictable and difficult time.

Listen to Riotmiloo’s ‘Vile Butterflies’ below.

Download your copy of 11 Years Of Chaos from bandcamp.

 

Follow Riotmiloo on bandcamp, Spotify, Twitter, Facebook & Instagram

Follow Chaos Theory on bandcampTwitter, Facebook & Instagram

Kate Crudgington
@KCBobCut

LISTEN: Bess Atwell – ‘Co-op’

A nostalgia-tinged reflection on the different ways we seek comfort in a relationship, British songwriter Bess Atwell has shared her latest single ‘Co-op’. Released via Lucy Rose’s label Real Kind Records, Atwell gently shifts between tenses and re-traces her emotions on this charming musical snapshot, exploring what it means to truly trust someone to help you through life’s difficult moments.

“I think of this song the same way I think of a memory that keeps interrupting the current moment,” Atwell explains. Through her stream of consciousness lyrics and gentle melodies, she finds herself resting somewhere between insecurity and genuine confidence, treating everyday occurrences with a poetic poignancy – “Half your furniture we found on the street outside / Hey somebody is throwing out a perfectly good piece of mind.”

“‘Co-op’ is an illustration of mine and my partner’s life together,” Atwell continues. “The relationship seemed to provide me with some sort of permission to recuperate from family trauma, as if realising for the first time that there was a life outside of that chaos lulled me into an emotional slumber. Through the song I grapple with the desire for, and fear of, comfort. I used references to Virginia Woolf’s Mrs Dalloway to depict a vivid nostalgia and an affinity for trivialities that serve to calm when darker thoughts set in.”

The track is accompanied by a soft-looking set of visuals, co-directed by Atwell and her good friend George Ogilvie, which gently attempts to “marry two worlds at odds with each other,” contrasting “the mundane and the emotional” elements of the track with Atwell’s eccentric props, outfit and choice of setting.

“‘Co-op’ started out as a bit of a private joke, so I wanted the video to have a self-awareness and sense of humour to it too,” Atwell explains. “I think there can be a tendency, when you’re shooting a music video yourself, to try too hard to make it look professional. Instead, I wanted to lean into the fun of making it with a friend. It felt reminiscent of our childhoods, when we would make up plays or dances and perform them to anyone who would watch.”

Watch the video for ‘Co-op’ below.

Follow Bess Atwell on Spotify, Twitter, Instagram & Facebook

Kate Crudgington
@KCBobCut