Review: This Melbourne-based outfit, notable for containing no fewer than three singer-songwriters in their ranks, are a tonic and a half for anyone who grew up on the Velvets-indebted indie-pop of the '80s - outfits like The Feelies and The Go-Betweens, or the Flying Nun stable - offering a similarly sprightly, sharply perceptive and richly melodic sound as well as a playful freshness of approach. This six-song collection sees them building on the promise of their earlier 'Talk Tight' with elan, and an almost objectionable amount of songwriting acumen. Few in the current indie milieu are quite so adept at making such a time-honoured sound hit so brand new.
Review: Mulvey's 2014 debut was quite deservingly widely acclaimed, and established him as a highly skilled solo artist. His work with Portico Quartet was cinematic and wide-eyed, and proved his ability to work with broad and enchanting atmospherics. This coupled with a wide range of musical textures brings us to his second album 'Wake Up Now' which is as playful as it is diverse. Just as you're settling into ideas, Mulvey's introduction of surprising elements pleasantly catches you off guard, and this album is all the better for it. Tracks such as 'Myela' - inspired by the current refugee crisis - and the touching 'Unconditional' are key moments in a confident follow-up by an undoubtedly graceful and intricate songwriter.
Review: House Music With Love turn once again to Swedish duo Swim for a record soaked in a particularly soothing bath of Balearic goodness. Original track "Be There" is certainly laced with an air of Scandinavian cool, not least thanks to Erika Rosen's dreamy vocals, but there's a solid boogie undercarriage carrying the music along. Halllo Halo step up with a remix that makes a playful, intricate broken beat refrain out of the backing track while maintaining the vocals. Ghost Immanuel meanwhile whips up a spacious dub that stays close to the original, albeit in instrumental form.
Review: Listening to the awaited full length of The National's Aaron Dessner and Justin Vernon's (Bon Iver) Big Red Machine project and it's hard not to think they've invested themselves in discovering deeper strands of electronic music, or production... if the sporadic drum machine work of "Deep Green" is anything to go by. "I Won't Run From It" however sees the pair back in their full choral beauty, presenting a song for thousands to potentially wave their hands this summer. This Big Red Machine was produced over the past two years involving many-a collaboration from New York and its artistic community, with the band themself saying: "this feels like something new-the process felt different and the outcome felt different." Check it.
Review: This East London duo honed their style in their own studios, sculpting a homespun sound that marries electronic innovation with a warmly soulful approach redolent of a welcome British answer to the glitzy R&B more commonly found across the Atlantic - kneed that rendered bt self-admitted heroes of this pair such as Usher. Yet boasting a neon-drenched late night aesthetic that's somehow maintains enough brio and quirky charm to avoid it sounding like the soundtrack to a perfume advert, 'Warm On A Cold Night' is as sleek and sophisticated as it is earthy and characterful.