LISTEN: Trentemøller – ‘Try A Little’

Atmospheric synths, catchy beats and entrancing vocals come together to create ‘Try A Little’, the latest track from Danish indie-electronic artist Trentemøller. Featuring Warpaint‘s Jenny Lee Lindberg, the song is a captivating electronic exploration of “inexplicably loving a person who seems incapable of returning that love”.

Accompanied by an equally mesmerizing set of visuals – Produced by Emmy-nominated animator Thomas McMahan & featuring Jenny – ‘Try A Little’ is taken from Trentemøller’s first album in three years, Obverse, which is set for release on 27th September via his own label In My Room. His pre-existing collaborative spirit is celebrated on this record, which features the voices of Slowdive’s Rachel Goswell, Warpaint’s Jenny Lee Lindberg (jennylee), Lina Tullgren and Lisbet Fritze.

“I have always worked with contrasts in my music and in my sound. It’s in the subtle clashes of feelings and tonal contradictions that I often find pure inspiration,” Trentemøller explains. “Obverse was always going to be about exploring the possibilities in my studio, with no consideration of how it could be performed on a stage, and it was completely liberating.”

Listen to ‘Try A Little’ below and follow Trentemøller on Facebook for more updates.

Kate Crudgington
@KCBobCut

Track Of The Day: REYKO – ‘Lose Myself’

Intoxicating, slow beats and hushed, soft vocals permeate ‘Lose Myself’ the latest single from London-based duo REYKO. Originally from Spain, the pair now create their atmospheric, tentative tracks from their home studio here in the UK.

Consisting of vocalist Soleil and producer Igor, the duo began making music together on the final project for Igor’s masters degree in music production. Since then, the pair have been busy creating REYKO’s sultry sounds by mixing numerous styles together, including elements from genres such as electro, indie, and trap.

‘Lose Myself’ is the pair’s second single, following on from their first official release ‘Spinning Over You’, which became a viral hit in 2018 in Spain and resulted in the band receiving a nomination for Best New Spanish Artist at the LOS40 Awards. With tracks as dreamy as this, 2019 looks set to be another successful year for this talented new duo.

Listen to ‘Lose Myself’ below and follow REYKO on Facebook for more updates.

Kate Crudgington
@KCBobCut

Track Of The Day: She Drew The Gun – ‘Trouble Every Day’

Fresh from wowing crowds at a number of festival appearances this summer, including Glastonbury, Latitude, Bluedot, and blowing our minds earlier this year at the inaugural Cro Cro Land, Wirral band She Drew Gun have now shared a brand new track.

A reinterpretation of Frank Zappa’s original, ‘Trouble Every Day’ is propelled by a raw emotion and impassioned grit, as Louisa Roach’s smooth, distinctive vocals blast out the all-too-poignant, poetic lyricism. With a seething energy and politically-driven tension that builds with each note, it’s a sincere, empowering anthem for our troubled times. Of her current, pertinent, take on the original, Louisa explains:

I heard ‘Trouble Every Day’ and thought it would make a great cover, Frank Zappa wrote it based on the TV coverage of the Watts riots in LA back in the ’60s, so I rewrote some of the lyrics to reflect what I’ve seen reported on the TV in more recent times, from English riots to the Extinction Rebellion protests. It takes a look at the issues that are facing us at the moment – from the rise of the far right, to the threat of climate change and the role the global media corporations play in supporting neoliberal ideology.”

 

The new single accompanies the Trouble Every Day October tour which is the Wirral band’s biggest UK tour yet, and includes support slots from some of our favourite bands (Peaness, Dream Nails, Bugeye and The Menstrual Cramps)! Full dates and details here.

Mari Lane
@marimindles

Photo Credit: Phoebe Jane Photography

Track Of The Day: Palm Haze – ‘Second Round’

Described as “another story told by the unconscious”, Vancouver-via-Brazil shoegaze duo Palm Haze have shared their latest single ‘Second Round’. Taken from their recent album Rêve Bleu – released via YHS Records – the track is a deceptively calm swirl of sultry vocals and riotous, fuzzy guitar sounds.

Formed of vocalist/bassist Anna Wagner and guitarist/producer Lucas Inacio, Palm Haze blend elements of alt-rock, shoegaze, and trip-hop to create moody, furiously dark noise. The pair lose themselves in the chaos of the loud and the quiet, which they demonstrate clearly on ‘Second Round’. It’s a five minute journey in to the “forbidden paths” of their inner world.

Speaking about their recent album Rêve Bleu, the pair explain: “[the record] will bring up chaotic emotions and thoughts, taking you much further from reality and closer to the wonders of uncertainty. Where could you go? What could you do? It’s a fantasy you fall on accidentally…It’s the kind of dream you’re afraid of, but also tempted towards.”

Listen to ‘Second Round’ below and follow Palm Haze on Facebook for more updates.

Photo Credit: by Philippe Hardardt

Kate Crudgington
@KCBobCut

ALBUM: Chastity Belt – ‘Chastity Belt’

On this, their fourth album, Chastity Belt are in a contemplative mood. Guitars are gently, thoughtfully, strummed and lush harmonies mingle with the melody to create an album that is perfect for late summer 2019. 

After their last album in 2017, the band deliberately created some headspace for themselves. They wanted to take some time out from the band, to work and live as individuals rather than as Chastity Belt. This decision led to some solo projects, most notably singer Julia Shapiro’s recent output, but also to a more personal introspection and development. The four members of Chastity Belt have brought this new sense of perspective the album, and it shows. 

While sonically complex, the album sounds sparse and uncluttered, unhurried and pastoral, rather than urgent and urban. Opening track ‘Ann’s Jam’ reflects this with its gentle, almost meandering guitar sound, whereas the strings on ‘Effort’ weave in and out of the guitars like ribbons of sound. It’s a soothing sonic wave, a soundtrack of calm and thoughtful songwriting. It’s not as though the band have suddenly picked up acoustic guitars either, it’s just that the woven intricacies of their music balance out to such an extent that neither electric guitar nor drums dominate. 

The slowly building ‘It Takes Time’ and the beautiful ‘Half-Hearted’ with its intricate, pretty guitars and gorgeous vocal harmonies are both highlights, as are ’Effort’ and ‘Ann’s Jam’, but really, this is an album in the traditional sense: it has been made to be listened to in its entirety, over and over again, until it bleeds into your subconscious and becomes a part of you. It’s a masterpiece that will stand the test of time and will be listened to, and loved, for many years to come.

Chastity Belt is out 20th September via Hardly Art.

Cazz Blase
@CazzBlase

Track Of The Day: Tate McRae – ‘Tear Myself Apart’

This taster track (the first single, ‘All My Friends Are Fake’, will be released in October) by sixteen year old singer/songwriter Tate McRae marks her as a talent to watch. She’s managed to avoid coming across as either mawkish or awkward with a sophisticated, heartfelt slice of pop that would appeal to fans of both Lorde and Halsey.

More Jorja Smith than Taylor Swift, ’Tear Myself Apart’ is emotional without being emotive, stripped down without coming across as contrived, and it’s a highly dignified, atmospheric piece of songwriting.

With this being purely a taster track, it’s too early to predict what direction McRae’s career will take, or if she’ll be content to stick with making atmospheric pop ballads over the usual route of R&B flavoured pop or reggaetron. Whatever happens though, remember the name.

Cazz Blase
@cazzblase

LIVE: Peaches @ Royal Festival Hall, 28.08.19

Wednesday, 28th September 2019: another day of exceptionally soul-destroying news about the state that the country/the world is in; a day when I particularly need a lift, something to restore my faith in humanity. I feel extremely grateful, then, that it is tonight that I get to see the legendary Peaches. All round pop and punk icon, pioneer of sex positive queer feminism, multi-media artist and exceptional musician, I’ve been wanting to see her live for years, and this mind blowing experience couldn’t have come at a better time. 

It also couldn’t have happened at a better venue; though it may not be considered the most ‘punk’ of places, the Royal Festival Hall is the perfect setting. With its epic, old time grandeur, high quality sound, and accessible, spaced out seating, you’re guaranteed a clear view and hearing from any angle, so all the usual gig worry of getting squashed, not being able to see/hear, and generally being uncomfortable or slightly stressed is taken away. I feel very honoured to be there, even before the show starts. 

And then the spectacle begins – an all womxn band filled with strings, brass and percussion begin to play as dancers (aka ‘Clusterfuck’) appear in skin tight bodysuits dressed as sperm and vaginas. Peaches isn’t even on the stage yet, and the euphoric sex-positive vibes are already flowing.

Introduced by vibrant performer ‘Anita Drink’, Peaches takes to the stage, covered in layers of hair, for masturbation-celebration anthem ‘Rub’. Whilst a fantastic, stimulating start, it is only when Peaches urges everyone to “rise with me”, asserting “don’t let the stiffness of your seat stop you doing anything”, that we’re really able to climax. At her direction, the crowd immediately loses inhibitions and is able to fully immerse themselves in the incredible, unifying experience that is There’s Only One Peach With The Hole In The Middle

As a fleet of living vaginas strut alongside her for ‘Vaginoplasty’, Peaches sheds her hair suit and commands our absolute attention with her flamboyant energy and magnetising charisma. Only a few songs in, and already the utterly inclusive and hugely empowering spirit oozing from Peaches has encompassed the entire venue, a sea of fans of all genders/ages/preferences celebrating the immense sense of freedom that being in the company of this performer induces. And no more so than when the modified lyrics of ‘I U She’ are chanted in unison – “Gender Fluid Make Some Noise”. 

After a costume change into what seems to be a rather fetching pink swimsuit, Peaches is greeted to the stage once again by some snazzy keytars for ‘Talk To Me’ and, as she climbs into the crowd, taking a sip of a fan’s drink, she exudes all that admirable uninhibited sense of quirky cool, before climbing back onto the stage. Joined by none other than Iggy Pop (in virtual form on a screen), she bounces into ‘Kick It’ with a relentless, angsty energy. 

Surrounded by raging guitars for ‘Rock Show’, the stage suddenly bursts into a frenzy, as dancers of all kinds swirl around her; a surrealist, truly joyous celebration of total inclusivity. From utter euphoria to the sound of discordant screeching strings, Peaches then reappears from an inflated, epic dress, in which dancers are squirming, for heartstring-tugging anthem ‘Free Drink Ticket’; showing herself capable of fusing together a rock show with an art installation; a classical ballet with a hip-hop battle. She is beyond genre, beyond gender, and beyond even my wildest expectations. 

Joined once again by Anita Drink taking Kim Gordon’s place for ‘Close Up’, Peaches then comes in for her ‘Diva Moment’. Sharing that it’s not the first time she’s been here – she’s supported Suede at David Bowie’s Meltdown event in 2002, seen Grace Jones perform, and even sung alongside Yoko Ono – her nostalgic interlude reminds us that she certainly has every right to a ‘Diva Moment’ or few, and now that she’s here in her own right for her own mind-altering show, she deserves every single bit of attention possible. 

Following the throbbing energy of ‘AA XXX’, Peaches swaps her hair suit for some cool shades and we’re treated to the utterly immersive, hypnotic hold of ‘Take You On’ performed on what looks two giant theramins (but are probably just lights). And, as she sings “you can’t mess with me”, I firmly believe this strong, impassioned performer standing before me. 

And just when you think things can’t get any more totally breathtaking, an aerial gymnast is elevated up into the rafters, spinning and balancing impressively, all the while mesmerising the crowd with the lasers shooting out of her bum hole – a perfect accompaniment as Peaches belts out “I’ve got light in places you didn’t know could shine”, leaving us questioning if there’s anything this innovative artist hasn’t got in store to wow us with. 

Then there’s the energy-fuelled boxing match-inspired dance moves of ‘Boys Wanna Be Her’; the all encompassing screeches of an incredible violinist’s strings as she’s carried off stage by a group of dancers; an absolutely immersive performance by one flexible male member (no pun intended..) of Clusterfuck to ‘I Feel Cream’; the totally unforgettable sight of two giant inflatable penises with someone dancing inside to ‘Dick In The Air’. There simply isn’t a moment when something completely spectacular isn’t taking place. 

Whether Peaches is being joined once more by Anita Drink as we all shake our tits along to ‘Shake Yer Dix’, or we’re witnessing a breathtaking tower of dancers as Peaches blasts out ‘I Mean Something’, every single second blows me away. 

I’m relieved, then, that there’s an encore. Peaches re-emerges as sparkly and spectacular as ever, plus a snazzy hat, for an impressive delivery of ‘Dumb Fuck, before going on to introduce every single person involved in the production of the show, including all stage managers and technicians; an admirable gesture for a performance of this scale, and one which only goes to demonstrate Peaches’ dedication to complete inclusivity. 

With everyone on stage together, the show closes with celebratory anthem, and perhaps Peaches’ most well-known offering, ‘Fuck The Pain Away’. And so ends the most innovative, empowering, inspiring and utterly joyous show I think I’ve ever seen. Restore my faith in humanity, Peaches certainly has. Whether surrounded by spangling dancers, living vaginas, a marching band, or simply standing alone, chest bare, Peaches encompasses a perfect celebration of everything queer, wonderful, weird and totally life-affirming.

Mari Lane
@marimindles

Photo Credit: Lydia Daniller