Wednesday 29 April 2015

Lost and Profound


The Canadian band 'Lost and Profound' are raring to go ahead of their new album, entitled 'Goodbye Mine', which is set to be released on the 12th of May. The album itself is comes alive with the sophisticated and robust lyrics that mix with the steady and cool melodies, conjoining to create a force of goosebump inducing sounds. Opening with 'Superhuman', the band immediately blow you away with their rawness, it sounds so stripped down and pure you can't help but gasp.

Following on a gentler note is 'Until It Broke', a song which evolves into a gushing composition featuring almost hypnotic vocals. Both the title track and 'Iodine' are empowering and soulful tracks making them irresistible to sing-along to and simply heavenly to listen to. The song 'Love's Hard Landing' is soothing and chilled whilst 'Jewel', fronted by male vocals, is more upbeat and daring, featuring a rock/country sound instead of the previous sophisticated indie sound.

'Bad Sister' and 'Alcohol' both flaunt the band's signature sound and 'Rover' sounds almost magical with its sparkling intro which eases onto a touching and gentle flow, a song that is perhaps worthy of closing the album. 'Spectre' however does do a worthy job at closure, its strength and prowess ignites a shiver to slither down your spine.

Keep up with Lost and Profound:
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Emily Branson (@emiemzy)

Saturday 18 April 2015

Blade of Grass

Despite the unassuming name, Blade of Grass are actually rather peculiar (in a good way of course). The band are swiftly on their way to captivating the thousands, sounding like the result of a psych dream rather than a psych band: they mix shockingly strong vocals with empty but outlandish melodies, creating an irresistible and alluring front.


Their most recent track, 'She Was', flaunts robust vocals which take centre stage of the track whilst, behind them, is a meandering drum beat and intermittent warped sound. The overall sound wakes you up with its clarity but then takes you somewhere far away too, making it a track full of conflicting factors but still, somehow, it just works. Whether its the climatic ending or just the abnormality of the melodies I don't know, but it all gives a satisfying click as it fits into place.
Another older track worth checking out is 'Dance To The Radio'. The song is a fast paced rumble, its unforgivingly danceable and induces a permanent smile on your lips, the cheerful melodies and reassuring lyrics massage away at any tension and sadness. If you can be down while this is on, you need to win some sort of prize, I'm serious.
Keep up with Blade Of Grass:
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Emily Branson (@emiemzy)

Tuesday 14 April 2015

Zibra // Great White Shark


With a push of momentum, 'Great White Shark' enters your orifices. And not only does does Zibra's new track have a sickeningly repetitive beat, but it flaunts an addicting and cleverly sweet facade, one which hides something gloomy and sinister. Example A: The opening lines ("Twist your wrist like bubblegum / And your bones are popping one by one") sound like something out of a psychopathic King novel. Example B: the sugary melodies that swim before your eyes for the short and sweet 2 min 47 second duration of the song begin to whirl and twirl, manifesting into something more than just a synth-pop layer cake. The reality of this song is that the underlying darkness is simply alluring to the mind, it's like a crush on the most bad-ass guy at school.

Keep up with Zibra:
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Emily Branson (@emiemzy)

Saturday 11 April 2015

Lerloons

Lerloons, previously known as Paperpenguin, has recently released a new track entitled 'Sopranos'. It is a slow, unwinding and groovy song, full of robotic beats and snowflake notes doting synthetic melodies. We actually got the opportunity to speak to the man behind the ambiance, here's what he had to say:

Mytacism Music: What is your first memory of music?
Lerloons: This is a tough one. But I think it was this weird TV program when I was real young. It as about these moles from space and they would whistle to communicate. It wasn't a cartoon, it was like someone got these mole toys and made a stop motion animation. I've forgotten the name completely. I wish I could watch (it) now.
What influenced you to start creating your own music? Was there a key event or song?
It was when my sister got a macbook. One of the old white plastic ones. I would always want to play on GarageBand to play different sounds then piano. I then started to play with loops and put them together in a pop song structure, very basic but fun. Then I worked that next whole summer and bought an iMac. I was that kid that didn't smoke or go drinking in a bush somewhere so it was easy to save the whole summer. When I got my iMac I had looked up stuff about making music, I came across Ableton so I downloaded a cracked version and use Ableton to this day. I find it the best for creativity.

What normally inspires the creation of your songs? Was there an inspiration to your latest release?
This really depends on what music I will make. I can't explain when I want to make a certain style, it just happens. For ambient music, I like to watch movies or play video games. Then sometimes the beat music I make is more of a question I ask "Could I listen to this while playing  GTA V?" or "Would it sound good in a club?" I also get inspired by listening to music on long journeys. I find art and photography help inspire me too. I'm very interested in film and game music.
The latest track came out of no where really. I named it 'Sopranos' because I just finished watching the tv show 'The Sopranos'.

How do you approach the creation of a new song?
This varies, I could be messing with a synth or playing the piano. I have a bad habit of making loops and leaving them and starting new sessions. My laptop is full lol. Lately, I would make a simple beat and then play melodies over the beat. It starts as a mess-about but usually turns into a full track.

Is there something you want your music to tell people?
Not really. I make music because I like the making process. It’s fun. I don't like the idea of trying to tell people to feel a certain way. I just hope my music does it. Lol thats so cheesy I know but that’s how I feel.
What caused the name change?
I was going to change from Paperpenguin sooner or later, it was more of a cartoon idea I have in my head. LERLOONS has some connection but not really. I have had the name LERLOONS in my head since the space moles.

Where do you hope you music takes you in the future? Any dreams/ambitions?
It would be dope to not worry about money, bills and shit and be able to travel world. Definitely be insane to work with artist I look up to. Meet new people. My big dream would be to live some where that is sunny and where I could try grow my own weed without any problems form the law. And have a wall so I could  paint and have BBQ every day. That would be sick.

Where can we find you in the future, both musically and not?
Well I am living in Ireland at the moment so come to ireland if you want to find me. Musically would be on Soundcloud, Youtube and Twitter.

Emily Branson (@emiemzy)

Thursday 9 April 2015

Bullyheart


Bullyheart have recently come out with a sparkly new album entitled 'Antigravity'. The LP is full of groove and attitude, you can't mess with this album but you sure as hell can join in the vigorous glam movement Bullyheart slap onto the table. Opening with the riffalicious title track, the constant wave of guitars hooks you and sways you, there is no changing song when this comes on.

'Thin Air' slows things down with mellower beats and melodies. But, thats not to say it acts as a depressant, the continuation of lustrous vocals and an odd tinge of psych could easily indulge a smile on anyones face. 'No Pleasing You' is infectious as the light 'ooo's raise sweet hell within your eardrums but the following track 'How Was I To Know' shows a completely alternate side to our powerful band. They drift off into a gentle slumber, oozing rocked up acoustics from all of its crevices.

'Lost My Nerve' begins lullaby style with unfocused strings that are later joined by clear cut vocals and drums, resulting in the creation of a dream-like trance. It's shiver producing, goose-bump inducing and ultimately gorgeous.  'Panic Attack' however seems to have drawn on country influences, its suggested in the melodies of the track and Bullyheart have mixed it superiorly with their power-glam sound.

Gentle giant 'The Pendulum' and reassuring 'Shaken' follow by boasting the bands symphonic musical bond whilst 'There Goes My Man' and 'Stay' bring the album to a close perfectly. 'There Goes My Man' has got similarities between the Pixies' 'Here Comes Your Man' as both choruses have an empowering vocals worthy of an inspiring drunk perfomance at karaoke. 'Stay' is a sad parting of ways, voicing my own wishes for the album to continue. There are lighter moments however, the lyrics are full of disdain as 'Whoever stole my smile is a jerk' wafts through the air bringing an indulgent smile to your lips as you think of the revenge this past lover must be getting. It kind of reminds me of the Green Flag advert.

Buy the album.

Keep up with Bullyheart:
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Emily Brason (@emiemzy)

Tuesday 7 April 2015

Better Day Blues

Factory Fast records have finally brought us the second compilation in the Americana Armour series. The new album, out today, gives a wide range of americana necessities to help you to get back into touch with America's previous musical developments. It is a great album to listen to because of the variants in genre, it's an album that really keeps you on your toes. Opening track 'The Love Ambassadors' by Indus Rush is soft, pink and gushy. It is, as the name implies, a love song, maybe a bit too long and 'lovey' for my personal liking.

'Married Man' by The Shannons is a warming, folky 3 minutes that, despite the upbeat feel to the track, is bluntly expressing how 'You'll be by yourself' because your man is seeing other women. 'What More Can I Do' by Mongroove follows, boasting an altogether different sound. Its pacey and infectious, you'll need some antibiotics to treat this one.

Gloriously country and the LP's namesake, Ed Roman brings us 'Better Day Blues'. Its simply made and completly effective, inducing a beat commanded twitch in both your shoulders and head. 'I Hate' by Johnny Hate is a track full of turmoil, rolling out an authentic ragged rock sound along with Hate's soul bursting vocals. 

'Arsenic and Turmeric' from Melting Pot just feels good, the melodies roll down your eardrums fluidly and the dirty sound of the guitars just adds an authenticity to their whole sound. A mellow end to the compilation comes in the form of 'Too Lazy' by The Tallest Hogarth. At times the vocals are uncannily similar to Elvis's and the remainder of the time they are driven out of the abyss, evolving into something raw and free.

The album will be available via Amazon, Google Play and iTunes.

Emily Branson (@emiemzy)

Saturday 4 April 2015

Live Review // Swim Deep, Electrowerkz, 1/4/15

Deeming their first night of this particular shortened tour a ‘nervy one’ in Manchester, B-Town five piece Swim Deep seemed to shake off these nerves and jitters for an energetic and somewhat crazy performance in North London’s Electrowerkz.


Support came from Leeds-based indie pop band Vitamin who were newcomers to London and provided a joyous/feel good set up for the main event. This was with a string of instantly catchy tracks which thanks to a charismatic frontman and softened, rhythmic guitar sounds seemed to ignite a bit of a spark in the audience.

With Swim Deep’s eventual entrance onto the stage amidst smoke and vibrantly coloured lighting, frontman Austin emerged with a single maraca and the crowd were ecstatic. He wasted no time communicating to the them that they would ‘get onto the honeys’ as they began with the last track off of their forthcoming new record which in its 7 or 8 minute nature blew the minds of several in the audience with its psychedelic or galactic feel which was coupled with a crescendo of all sorts of sounds. As promised, they immediately reverted back to the first record (‘Where the Heaven Are We’ (2013)) with their hit track ‘Honey’, introduced by bassist Cavan, and then ‘Red Lips I know’. Both tracks were met with equal enthusiasm and were embraced by the crowd as barely a soul in the small Electrowerkz venue wasn't bellowing out ‘don’t just dream in your sleep, it’s just lazy’ on first song ‘Honey’.

The middle part of the relatively short 40/45 minute set featured 2 new songs which weren't particularly well-delivered by frontman Austin but his energy and enthusiasm was to be admired and sought after. This was carried on into fan favourites 'Francisco' and 'She Changes The Weather' with the latter of the two's signature piano intro and its dreamy, gentle tone sending the crowd into a state of delirium and delight. The initial conclusion of the main set came with the band’s celebrated hit ‘King City’ which with its instant familiarity to any Swim Deep fan sent the crowd into a chaotic, frenzied state to finish the provisional set.


As the band left the stage and the crowd began to chant ‘encore, encore…’, their calls were answered as Swim Deep returned on stage barely five minutes after leaving. Their encore and end to the overall set was their new single ‘To My Brother’ which was perhaps the second most well-received track of the night (behind ‘King City’) as its acid house, 80’s synth pop sound rippled through the Electrowerkz venue and the crowd had nothing to do other than sing along in shear enjoyment. The five-piece left with Austin inviting drummer and Saint Lauren heartthrob Zach Robinson onto his back to disappear off stage with the rest of the band.


 With the large success of dream-pop first record ‘Where the Heaven Are We’, Swim Deep may struggle to reach the same heights with the forthcoming release of their second record. However, their existence as a thoroughly close and loveable band who with a wonderfully exuberant frontman (Austin Williams) contributing to their success as live act, means there is still a good chance they can hold their own in the current alternative music scene.

Luke Jewell (@heroicshart)

Friday 3 April 2015

Subway Rock

Our favourite record company have been at it again, they have produced yet another meaty compilation for us to indulge on. This compilation is total mix of things but ultimately focuses on prolonged instrumentals, making the tracks seem like jam sessions and giving a more relaxed feel to the whole LP. Album opener 'Slow Drive Home' by Finding Miranda creates this exact atmosphere, the easy melodies sounding like a slightly rocked up version of Cornershop's 'Brimful of Asha'.

'Lately I'm Confused' by Love Child has the illusion of being one of those great 80's rock tunes, marking an unforgettable 3 minutes on the record. Following that is 'Lousy Dice' by Queen Bitch which features some really smooth vocals that just slide down your earlobes whilst the slow beat adds a mellow stomp to your step, making it a total feel good track.
Starting with a vaguely annoying glitchy start, 'These Dark Days' by Stab in the Dark burst into an unforgiving, fast-paced romp whilst the next song, 'Rock up the Hill' by Starkett Levee, is comparatively mellower, easing into a steady, heartfelt, powerful course. Both tracks show both the diversity of the compilation and how well the the alternate strains of rock can fit together.

The penultimate track, 'Riddle of the Sphinx' by UVTraveler, is a long, perhaps too long, rock jam. As soon as you play it you feel like you have fallen down the rabbit hole, there is so much dimension and variety within the 8 minute track that it is hard to feel rooted. And finally, 'One Night Stand with a Ghost' by The Deltorers is a grungy trip to heaven, tying up the LP perfectly.

Purchase the album:
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iTunes

Emily Branson (@emiemzy)

Thursday 2 April 2015

Marco Mestichella


The London based Italian, Marco Mestichella, is about to release his second EP 'Troubled Water'. We actually reviewed Marco earlier this year, take a look here. It is great to see how and when an artists begins to develop their music over time and Marco's journey is a lovely one to look at. In January, we saw him producing cinematic, story-like songs but now he is experimenting with every variant of pop you think of and the result is spellbinding.

The new EP opens with 'Vola Via'. This could possibly be my favourite of all the tracks on the release because of the ambience it creates, the Italian monologue which makes it seem close to the heart and the way something just clicks halfway through, allowing the melodies to evolve into more of a symphony than cinematic production, totally encapsulating Mestichella's artistic development. The EP's namesake follows, opening with a climatic drum roll and bursting into colour with the electronic high's and low's. The song sounds a bit like a refreshed 00's track and, like the lyrics croon, "It feels so good inside".

'Treason' takes on the appearance of an awakening, a sound which could parallel the glisten of sun through the trees. The track also features an oddly calming rap from Turan, adding an extra dimension to the laid back, synth laden song. 'Savvy Stomper' goes on to completely change the mood of the EP with its funkalicious melodies, upbeat brass sections and salsa vibes in the latter part of the song. You really can't help but pout and move in time to the track, its just so full of attitude, making it a real focal point.

'When The Sun Goes Down' is a gentle giant, sounding like a total summer tune as it emulates warmth in its slow, tidal melodies. 'I Should Have Stayed Home Tonight', a track reworked by Annette Exner, sounds almost alien in the setting of the EP, it boats a light drum and bass chorus whilst Mestichella's vocals echo and vibrate over the top. The remaining tracks are remixes of 'Troubled Water', I Should Have Stayed Home Tonight', 'Fragments of Light' and 'New Sensation'. All of the remaining 4 songs have club vibes to them, beefing up the already meaty EP.

Donate to Marco's Music Raiser and help finish the production of the EP.

Keep up with Marco Mestichella:
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Emily Branson (@emiemzy)

Wednesday 1 April 2015

Threshold Festival

Last weekend (27th-29th March) the Mytacism Music team was lucky enough to be invited to a weekend of breathtaking music and arts at Threshold Festival, Liverpool. Unfortunately, we could only make it to the Saturday but we still had a stellar time. This year was the festival's fifth year running but, despite its youth, the performance and delivery of the event was still sensational, bar a few early technical mishaps.

The festival itself has already earnt a very special place in my heart. Why? Because it exposes those new, talented bands that are just getting their footing in the music world, the artists that deserve so much more attention than what they have purely because it is so hard these days to get a free audience and because of the overall diversity of acts showcased. I mean, District exhibited primarily rock artists but with a quick trip down the road and you could be immediately immersed into the cosy atmosphere at the Baltic Social as the refined acoustics plucked away in the background.

Chanel Samson

The day started for us with a glittery, happy go lucky bubble inflated by Chanel Samson. As she skipped onto the stage at 2pm accompanied by her band, she emulated colour into the grey surroundings of District. Following her was a band shrouded in nonchalance. As Good Foxy sauntered into view, they ignited their ruthless rock sound, a noise not deterred by the odd technical problem and the lack of the raucous crowd they so readily deserved. Continuing with their already established hardern image, they left their seated crowd with an inspiring monologue of  "That's us then", obviously Threshold's lack of enthusiasm had, luckily, not disheartened the group.

Good Foxy

The fresh-faced Jekyll then entered our sights with their shy, nibble sound, finishing their set with the help of a toy gun oddly enough. We also had the delight of experiencing Green Room live, their swirling sound did not fail to entrance as we watched them immerse themselves in their own creations.

Delilah

Nora Konstanse delivered a flawless performance over at the Baltic Social, her sound was simply alluring to the soul, even over the dull, natural clamour in the audience. We also caught the start of Eleanor Nelly's performance where she took the audience's breath away with her powerful vocals after misleading them into thinking she would give a shy performance with her gentle albeit big haired appearance. Then, over at the Observatory, Delilah performed with zest. Their poppy, hearty songs enticed the crowd into a happy state, even when the guitarist hopped off stage because he 'forgot something'.

Blood Lips

Meanwhile, District kept up it's high standards. Scarlet performed their Garbage-esque sound (the band of course) and Blood Lips boasted their thunderous noise (a noise so thunderous they appear to be supporting Slaves soon). Indigo Sky delivered a spectacular performance, wave after wave of hammering drums picked up the audiences heart rates whilst their vocals, which sounded similar to that of Brian Molko's, countered it with an oddly calming effect.

Go Fiasco

Go Fiasco then took to the stage, their guitarist lost himself in the music whilst his fellow suited band members performed their natural, oozing and slick rock noise in a collected stance. The arrival of Filter Distortion also attracted a large audience who danced and pranced in time to each electronic note and drum beat and came away with smiles plastered on their faces, the band appearing to be an already firm favourite amongst the festival goers.

Filter Distortion

At 7:45 it was time for Astral Coast to take over Unit 51, opening with Bones for Buzzards. The band launched readily into their feisty tracklist after being piled onto the small stage. Due to a timetable change, Colour then followed. As they swiped the limelight in their white shirts, they swiftly changed the mood of the room with their synth, pop infused rock sound, not dissimilar to a heavier Metronomy.

Bones For Buzzards

We got to enjoy the oddities of Queen Maud's performance which sounded more like an electronic experiment as they tinkered away with their mass of equipment. Their distorted vocals helped to create a haunting ambiance in the cosy confines of the venue.

Throughout the day there was also a mixture of dance performances which provided an appeasing respite to the mass of spectacular musical performances. This, mixed with the easy nature of the whole festival, created a familiar air to the event, one that is going to be hard not to return to.

Threshold online:
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Twitter

Emily Branson, (@emiemzy)

Photographers:
Abigail Cook
Emily Branson

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