"Rio" is a track about romance in an idyllic town, where the sea is close and where you can’t help but run into old friends at every turn. Cutting through the song’s bouncy rhythm, the lead guitar is blurred in a reverb haze like summer eyes after a long day in a chlorine pool. Descending chromatic runs and a tinge of minor keys give the song that quintessential surf vibe. The song’s essence is the carefree, laid back bliss the seaside evokes in all of us. No schedules, no plans.
"“Rio” is a reflection of what brought the band together in the first place. In frustration, our music calls out for a more simple life free from the tedious complications of the modern world. In that sense, at our core we are optimistic, and it is that optimism that is the real driving force behind the sound."
“HAND, aka Sascha Bachmann, is a musician from Berlin who loves creating experimental sounds and dance beats. When Bachmann was a kid in the '80s, he found his father’s Tesla tape machine in the basement. He started listening to music with his friends and became passionate about it; the foundation stone was laid. It is in part because of these early experiences that he has been working in his own analog recording studio for the last 10 years.
As a drummer, Bachmann is continuously collaborating with different bands and projects such as ‘Sirius Mo’ & ‘Jan Driver’ while always trying to explore his own vision and ideas about music. Inspired by all kinds of art, he finally started creating the concept for his first solo album.
With his "DEBUT" album he creates unique sounds, using his own heartbeat to bring them to life. Wilderness, calmness and repetition are used in combination to deepen the music. Bachmann also works in visual elements to transport listeners to another dimension, using old super-8 moives during live perfromances. He creates beautiful patterns and abstract landscapes by scratching the super-8's and using colors or chemicals. Bachmann's tape loop project has been performed live in Berlin and New York. With "DEBUT", HAND creates contrast with fast world we live in.
Grej is the solo project and performing pseudonym of Greg Harrison, a Canadian-based percussionist from Fredericton, NB. This is Grej's first single and video “Part 3” of the new album i/Variations. The video was choreographed /performed with dancer Mateo Galindo Torres with artist Carlos Delgado. It explores the process of expressing and absorbing rebellious actions. The work is built from traditional Colombian folk songs, which cater to the perpetual rhythmic layers. This eventually gets swallowed by waves of synth and bowed metal objects - the thematic motif of the album. The album is a four part project where each musical work navigates through a physical and emotive journey that features manipulated cymbals and a Roland Juno synthesizer.
"Countless Ways" is a song of loss, a performance where the empty RSVP seats in a concert hall are lovers lost to memory. “Don’t pick up when I call” is that one-sided ending we all know too well. “Like you somehow appear” as a ghost, a phantom limb, that empty expectation of an impossible return as if from the dead.
The song divides into two major parts. In the first, the narrator goes from a dark longing to attempting acceptance: “I hope that you’re well” -- but your photos “can and do tell me that you’re longing”. By that halftime switch in the middle. we are cast far away as if in the audience ourselves being told to sing along.
"Sing it to the empty seats / When we sing they’re not gone."
Here he seems to come to full terms with the loss, the changes after a relationship are internalized and mutual. The song would conclude. but instead it pretty much starts over, but this time the duration is shorter, paralleling the process of acceptance.
In the age of social media we have “countless ways” to miss someone, to drive ourselves into the past with repetition and longing. Loss has never been harder, more public, more ruminative..
Brooklyn-based Trevor Gittelman has always had a revivalist sensibility, starting by singing for a classic/alt-rock cover band at 14 favoring music by Zeppelin, Radiohead and Muse. He had a knack for imitation but developed a more personal tenor style through college. His music production studies began during chronic illness in high school and college, the time he would spend alone recovering was also spent learning about sound design, arrangement and composition. Studying music composition and working with film scores he developed minimalist electronic music and dense psychedelic/hard rock in his home studio.
Gittelman gathered an ensemble around the solo project Van Vega in early 2014 and won Hofstra University’s battle of the bands. This performance with Phony Ppl and X Ambassadors gained the band a following, but inner band conflict caused the group to split. Van Vega has reformed in its third incarnation today but the vast solo productions accumulated over that long hiatus is now being released and performed as the one man show known as Trevor Forrest.
Gittelman's performances range from minimal acoustic to maximalist laptop productions. He uses a TC Helicon Voicelive 3 to achieve harmonies live and uses looping to create dense arrangements. His performances are intimate, psychedelic, and wide-ranging in style.
This self-produced EP is the first work by Go Ask Alice: eight instrumental tracks, composed between 2012 and 2013, recorded and mixed by Matteo Spinazzé, in collaboration with Curzio Ferri playing drums and Andrea Oggiano with his acoustic guitar. Perfection is terrible is the first verse of Sylvia Plath's poem "The Munich Mannequins". "Perfection" here is completeness, closure, inability to evolve and reborn, perfection is death. Perfection is indeed terrible, can't have a child, just as Plath's Munich Mannequins, cold marble statues, beautiful and perfect, frozen with us in a never ending present, the immense futureless present of the "capitalist realism": the end of history.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.