Track Of The Day: The Orielles – ‘Bobbi’s Second World’

As regular readers/listeners will know, Halifax trio The Orielles have been a favourite of ours for a few years now; they’ve wowed us live numerous times with their immense, vibrant energy – including at their sold out show at The Garage earlier this year (I watched like a proud parent) – and continue to blow us away with their distinctive amalgamation of uplifting sounds. Now, with the addition of fourth member Alex Stephens on keys, they’ve shared not-one-but-two brand new tracks.

The story of a cat named Bobbi, first track ‘Bobbi’s Second World’ flows with an onslaught of scuzzy, funk-fuelled hooks and groove-laden, disco-reminiscent vibes, as it juxtaposes Esmé’s honey-sweet vocals and Sid’s immense, racing beats with a swirling, psychedelic haze. And, with underlying eerie undertones and some playful cat-like squeals thrown in, you can almost imagine it being the theme song to some late ’80s spooky Duckula-esque cartoon (a compliment of the highest – Duckula was the best cartoon ever).

With the noticeable addition of keys, ‘Bobbi’s Second World’ initially sounds a lot less ‘indie’ than previous releases – focusing on creating a poppy danceability -, but it is certainly no less innovative. It remains distinctly The Orielles; an instantly infectious anthem filled with a buoyant energy and oozing a colourful spirit, that’ll leave you ready to dance your cares away. Of the track, the band explain:

“… (it) exhibits an explosion of new sounds and ideas that came to fruition after a long summer of playing festivals and taking inspiration from music that made us dance. It centres around the story of a cat named Bobbi who, in order to become a lady, has to experience the extremities of two complex and differing realities- situated in her front and back gardens respectively.”

This latest offering showcases The Orielles at their best, and only cements our admiration of Sid, Esmé, Henry, and now Alex. Whilst the band have continued to develop and alter their sound, they remain utterly unique, completely distinctive in their ability to fuse together jangly hooks with a frenzied vibrant groove, unlike any other band around, all the while exuding their trademark quirky charm and shimmering sonic delights.

Listen to ‘Bobbi’s Second World’ below. And make sure you check out accompanying track ‘Makes You Forget (Itgehane)’ (a Peggy Gou cover), here.

 

And you can catch The Orielles live (highly recommended) at the following dates:

29th November – Heaven, London
7th December – Invisible Wind Factory, Liverpool
13th December – Winter Camp Festival, Paris
15th December – Trades Club, Hebden Bridge Christmas show – SOLD OUT

Mari Lane
@marimindles

 

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LIVE: The Lovely Eggs @ The Scala, 28.10.18

Ever since being completely blown away by Lancaster duo The Lovely Eggs at Indietracks Festival this summer, I’ve been absolutely desperate to see them again. And so it was with excitement that I headed to The Scala to do just that last Sunday.

Following an energy-fuelled set from Mush and the spot-on wit and social commentary of Rob Auton (a refreshing first time I think I’ve seen a spoken word artist/stand up supporting a band at a gig), Holly Ross and David Blackwell take to the stage. Kicking off with the scuzzy, racing force of This Is Eggland’s ‘I’m With You’, the duo’s immense punk-infused spirit and explosive sonic fusions continue throughout.

As Ross informs us that this is day ten of a ten day tour with a five year old son in tow, she blows her nose, takes a swig of Strongbow and confirms that she’s not standing for any of “this arm-folding shit” at the front, encouraging us all to dance and let loose – it is a Sunday night after all. Becoming my ‘new hero’ at Indietracks in the summer, tonight – with this refreshing honesty and no-fucks-given attitude – the title remains firmly hers, with all her brash, inspiring charisma and no-frills-yet-empowering presence.

Continuing with whirring hooks, and immense, thrashing beats, a swirling, psychedelic cacophony is created as tracks such as ‘I Shouldn’t Have Said That’ and ‘Magic Onion’ ooze a wonderfully eccentric, relentless energy. And, as the uplifting lo-fi fuzz and anthemically catchy spirit of ‘Hello I Am Your Sun’ and ‘Wiggy Giggy’ fill the venue with a mass of bouncing, singing fans, an infectious sense of joy spreads throughout as David and Holly play the two sides of the room off against each other.

With their blunt realism and scathing retorts to all the dickheads out there, The Lovely Eggs stand out as one of the most relevant bands around (and one of the most exciting to see live), echoing the feelings of the many, with the subtle social commentary and refreshing cynicism of the likes of ‘Fuck It’ and ‘People Are Twats’. Without being explicitly political, the message and poignant relatability behind each offering creates a tremendous feeling of unity amongst the crowd; the duo appearing to be able to word what’s in our heads in a perfectly concise and witty way.

There is a moment of explicit political realness and urgency, however, when Holly talks about The Lancaster Music Co-op’s pending eviction – a non-profit making community organisation that has been providing music rehearsal rooms, equipment hire and recording facilities to the people of Lancaster and surrounding areas for the past 33 years, the co-op recently received an eviction notice from Lancaster City Council. So, Holly and David are amongst many names in the industry currently fighting to save it and raise awareness to help fight the eviction – sign the petition here.

Closing the set with the frenzied, riotous energy and spiralling (seasonal) magic of ‘Witchcraft’, The Lovely Eggs have once again delivered a truly impressive and utterly immersive set, leaving me eager to make it a hat-trick and catch their glorious offerings and honest charm live again very soon.

Mari Lane
@marimindles

 

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Track Of The Day: Worst Place – ‘Square Eyes’

East London band, and GIHE faves, Worst Place have previously won our ears over with singles such as ‘Dreamer’ and ‘Better Days’, and charmed us with their live performances not only for us at The Five Bells last Friday but at the blissful Indietracks Festival in the summer. Now, they’ve released another utterly euphoric offering in the form of double A side ‘Square Eyes’/’Soak’. 

Oozing all the totally dreamy vibes we’ve come to expect from the band, ‘Square Eyes’ is an ode to Netflix lovers (me!) everywhere. Flowing with the scuzzy whirr of guitars alongside bassist Amy’s luscious honey-sweet vocals, it’s a simply perfect slice of sparkling, woozy indie-pop. Instantly infectious with sunny shades of the likes of Real Estate or Best Coast, it will leave you longing for more of Worst Place’s simply heavenly sounds.

 

‘Square Eyes’ is out now on limited edition green glitter cassette, along with its double A Side ‘Soak’. Order via Bandcamp now.

Mari Lane
@marimindles

Photo Credit: @wayout_

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Track Of The Day: Self Esteem – ‘Rollout’

What happens when one of the UK’s most underrated indie performers decides to go pop? You get Self Esteem. Normally known as Rebecca Lucy Taylor, often with the words “…one half of Slow Club” attached to her name, her latest single ‘Rollout’ is the third official release under the Self Esteem moniker, after the ‘Wrestling’ single and Your Wife EP. The track, much like its predecessors, sees the Notorious RLT take things in an RnB direction with a big influence from American pop acts of the nineties and noughties, at first listen a big step away from her regular gig with the Sheffield duo.

With its snappy snare-heavy percussion, ‘Rollout’ opens insistently, and that’s before its lyrical hook kicks in: “I got one more in me / I got one more in me”, sings Taylor. Promising, but weary, sexual, but resigned, it’s a recurring image throughout the track’s melancholic take on the mature pop of the likes of Aaliyah and Madonna. Taylor’s voice is eerily reminiscent of those artists, especially after ‘Rollout’s first and second choruses, but its bitter yet flirty tone is uniquely hers. The chorus couplet of “What I might have achieved / If I wasn’t trying to please”, with its evocation of ideas unfulfilled and time wasted – trying to satisfy someone unsatisfiable – sounds ever more frustrated with each iteration. Backing up Taylor’s voice are organs, a little fleck of guitar here and there, finger snaps and tambourine. If mournful groove is your thing, it’s here in spades.

Taylor has spoken in interviews about her desire to do something pop for many years, even though she’s generally been associated with indie bands during that time. And yet, just as there’s always been an underlying pop seam in those groups – warped glam rock in Moonlandingz, sophisti-pop with Slow Club – ‘Rollout’ is more than just a stab at conquering the charts. Described by its creator as “a simple bloody break-up song”, its clever use of sparse, multi-tracked vocals and construction of a chorus that’ll stay with you for days, makes ‘Rollout’ something more. Coupled with its slick, stylised and self-aware video, it’s the best thing that Taylor has released under the Self Esteem banner to date. Drink it in, it’ll break your heart, in style.

John McGovern
@etinsuburbiaego

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