｡❁ New Single Release ❁ : RUBII “Jealousy”
｡❁ New Single Release ❁ : RUBII “Jealousy” ‘Jealousy’ is the latest and first single from Birmingham-born artist RUBII since the release of her ‘Olive Green’ EP last year. 04.03.24 Words by Gabi Machen https://www.youtube.com/watch?v=ALTlKgwjB3w This new song offers a laid-back yet vibrant beat overlayed with delicate keys and relaxed vocals, blending old-school hip-hop, jazz and R&B influences to create her signature sound. Rubii’s music creates a perfectly chilled vibe you can tap into no matter your mood, its mellow rhythms and smooth vocals provide a soothing soundtrack to daily life. Showcasing her conversational lyricism with an air of unbothered, Rubii lays out her experience of career jealousy interfering with a romantic connection. Though wise to the competitiveness coming from other musicians, she recites ‘I’ve been told differences but I think that it’s jealousy’. This single gives insight into the themes that her upcoming EP will explore, with a strong focus on self-empowerment you can expect to hear more honesty from Rubii. Alongside an EP in the works, Rubii recently supported the Wasia Project on their UK tour and is embarking on her first headline tour in April. Rubii’s success to date has paved the way for her to increasingly bring her creative vision to light, demonstrate her artistry and affirm her imprint in the alternative R&B space. If you are a fan of ENNY and JGrrey, you will want to keep RUBII firmly on your radar! View this post on Instagram A post shared by 𝕽𝖚𝖇𝖎𝖎 (@aka.rubii) You Might Also Like
Gig Review: ‘Friends Crush’ Curated By Squid
Gig Review: ‘Friends Crush’ Curated By Squid Last week The Shacklewell Arms in Dalston hosted Friend Crush, a series of gigs each curated by different notable artists. 02.02.24 Words by Hannah Bently On Thursday, Squid (a post-punk band from Brighton) selected three Bristol-based bands to showcase their talent. It was a night of eclectic performances, radical music and experimental soundscapes. I walked up to the venue and opened the door, releasing the smell of beer and sweaty air onto the street. The pub was loud with chatter, everyone anticipating the forthcoming show. Old VHS tapes line the shelves behind the bar featuring an array of titles from The Jungle Book to The Thing. I grabbed myself a £5 pint (a remarkable feat in London) and headed through a nondescript door leading into the intimate concert space. Pink cut-out clouds hung from the ceiling precariously close to the speakers, and the walls were plastered with old band posters and stickers. The crowd began to grow as the first band filtered onto the stage. The night began with The Big Fuss Ensemble. Originally a solo project created by Harry Irvine, the Ensemble included the drums/accordion by Irvine, Harry Furniss on cornet, Natalie Whiteland on harp, Joe Lyon on sax/electronics, Charlie Purse on guitar, and the addition of Ted (Biped) Glendinning on clarinet and vocals. Irvine describes the Ensemble’s sound as “a mix of spaces ranging from noisy rhythmically minded texture to soft ambience […] There is chaos, there is beauty, there is drama and there is also softness.” The accordion featured heavily in the beginning of the set, playing behind a wall on stage. The crowd became hushed, trying to work out where this slow, eerie noise was coming from. Paired with the dark lighting, I couldn’t help but feel I was below deck on a pirate ship. Biped began brushing their teeth, white toothpaste spit spilling out their mouth. The smell of peppermint filled the room, and I was totally transfixed. During big crescendos, Biped lay down on their back furiously playing the clarinet. And at one point they smashed the microphone against the wall, creating a ricochet sound in time with the drumbeat. At first glance this cacophony of noise is harsh and overwhelming, but there is a method to the madness, signified by the audience all nodding their heads in sync. The mood of the music changed every 5 minutes as the band carefully mediated a vibe between ecstasy and agony. It was bewildering but enchanting all the same. Next up was Ex-Agent, described online as a ‘no-wave’ group made up of made up of Evo Ethel (vocals, guitar, sax), Alfie Hay (guitar, bass), Eve Rosenberg (bass, guitar), Aidan Surgey (drums, percussion) and Otto Wild (keys, sax). They have a punk-rock element in their music with hints of jazz- somewhat reminiscent of Black Midi. The stage was lit by an ominous lamp at the front and occasionally washed with green by sporadic flashes. During their debut single Clutch/5, it was revealed that the lamp was actually a person wearing a shining lampshade on their head. The lamp came down into the audience, sporadically danced to the frantic beat of the song’s bright drums and scratchy guitar. As the tension built, both lyrically and musically, the lamp began desperately pulling on their electrical cord that kept them tethered to the stage. Some audience members rolled their eyes while others pulled out their digital cameras to immortalise the moment. As Ex-Agent’s set came to an end with one final dreamy soundscape, the lamp dramatically turned their light off. This was an intriguing element to add, but not particularly entertaining or thought provoking. Ethel was certainly the most eccentric member of the band, dressed like someone’s Great Aunt with a crumpled black hat and a carpet-patterned waistcoat. They sang (shouted) into an old-school microphone creating a peculiar sense of nostalgia. Rosenberg, the bassist and only female member of the group, was seemingly isolated from the rest of the band. The stage is small and easily crowded by music equipment and instruments, so maybe the awkward spread of musicians couldn’t be helped. Nonetheless, it was disappointing to see her somewhat removed from the energy and action on stage. Rosenberg kept a stern face throughout the performance, sometimes using a violin bow to play her bass. The night ended with Minor Conflict, the most established band out of the three acts with singles reviewed by CLASH and So Young magazines. Natalie Whiteland (harp), Josh Smyth (bass), Robbie Warin (trumpet) and Marcus Jeffery (drums), produce an experimental sound, blending influences of jazz, punk, folk and electronics. Whiteland’s harp playing was entrancing and her voice angelic. Her fingers hopped around the harp strings with precision and elegance. Another standout was Warin. He had a methodical manner as he alternated between percussion, trumpet, and electronics. He was in total focus, always on time and in tune. I was particularly impressed with White Ring Binder, an unerringly propulsive near-five-minute single. Smyth spoke his lyrics in a monotonous tone, contrasting Whiteland’s ethereal, almost operatic, singing. The band’s record label, PRAH Recordings, explains the song is about “people sharing really intimate things with strangers through poetry. It’s also about the connection we make with musicians even when we’ve never met them: the power of music to connect with others and ignite their creativity but also the effect that has on the people involved.” Let’s just say the single was swiftly added to my Spotify soon after the gig… All in all, it was a fun night. It was refreshing to listen to music that pushes boundaries and interrogates musical genres. The Shacklewell Arms is a great venue with a laid-back feel and cosy venue space. You Might Also Like
New Single Release: Tara Lily “6 Feet Down”
New Single Release: Tara Lily “6 Feet Down” ‘Songwriting extraordanaire’, Ellie Bleach, evokes a nostalgia beyond her years with her mesmerising vocals and refreshing authenticity in new track, ‘Whole Lotta Nothing’. 25.01.24 Words by Hannah Fitzhugh https://www.youtube.com/watch?v=h10uNvD5DTE Devastating and satire, Ellies cut-throat lyricism provides a one of a kind listening experience and enticing narrative to her music. ‘Whole Lotta Nothing’ uses humour and wit to perfectly depict the numbness that comes with forcing connections and feeling leftvoid of emotion after being hurt. Taking big risks- but ultimately pulling of her unique sound seamlessly, the up-and-coming alt-pop singer combines influences from artists such as Fiona Apple with jazz andcabaret style, saxophone instrumentals. This mix of nots to old school musical theatrewith witty, anecdotal prose is what gives Bleach’s identity that distinct edge. Despitetaking influence from different genres and eras of music, Ellie’s sound maintains anoriginality that is special and rare; making it impossible to look away. ’I felt nothing punching numbers in his phone, nothing, when he asked to take me home.’Exploring themes of cynicism and loneliness, with frank references to modern dating,’Whole Lotta Nothing’ is both comedic and painfully relatable. Turning more inwardtowards the mid-section of the track, the artist leans into the pressures of society andself-criticism; ‘Please don’t leave me alone with me. She won’t stop telling me lovesgonna come when you least expect it so don’t leave the house without looking splendid.Nothing comes to girls who sit and yearn.’ On the new track, the Essex born artist says, ‘I wanted ‘Whole Lotta Nothing’ to soundlike a dive bar at 3 am as if the narrator is singing to an empty room besides the janitorand barkeep,’ and she’s certainly achieved that. With a brand new EP set to be releasedand a tour this spring, Bleach is certainly one to keep your eyes peeled for. View this post on Instagram A post shared by Ellie Bleach (@ellie_bleach) You Might Also Like Uncategorised
New Single Release: Vanity Fairy “Jungle Jim”
Photo by Florence Meadow New Single Release: Vanity Fairy “Jungle Jim” Step into the fantasy-sprinkled world of Vanity Fairy and embrace the magic as you get lost in their new track Jungle Jim. 15.01.24 Words by Georgina Shine https://www.youtube.com/watch?v=IN2fuCbz4vc This new track from Vanity is a step into new musical terrain as she explores a more mysterious side to her musical persona. Jungle Jim is an ethereal experience for the ears and the mind as listeners are taken on an escape from reality. Vanity can use her voice and the music to take you away as she creates a piece which evokes the blissful feelings and emotions of being on a beach in a beautiful island paradise. As you get taken away by her voice you can almost feel the calming and gentle sea washing its waves over the shore, the salty breeze caressing your skin, and the bright sun warming your face. Listening to Vanity’s voice on this number is like taking a step back in time to 1978 as her soprano style tones are reminiscent of those of Kate Bush and her iconic Wuthering Heights sound. Just as Bush brought listeners into her hold and enraptured their imaginations back then, Fairy can do the same thing in this day as her gentile softness draws you in. Jungle Jim is like a journey into a hallucinogenic state in another land and it becomes a question mark as to where the journey is truly taking you. Whilst Vanity lays a beautifully haunting vocal for the hit, it’s also an enchanting mystery as your mind tries to search for the lyrics it can hear, but they are just out of reach. The decision to weave the broken and unintelligible lyrics throughout really helps to enhance the ethereal mystery of the ever-growing loss of connection with reality that this song creates. The excitement that surrounds this track is palpable as it sounds like it should be a sonic serenity and yet it creates a sense of wonder every time you listen, as there is this moment where you have to choose your path when you hear it. Listeners get to decide whether they feel like their falling into a dreamy paradise of wonder or an unknown jungle of uncertainty and the chance it may change each time you hear it is an intriguing piece of magic created by Vanity Fairy. View this post on Instagram A post shared by Vanity Fairy (@vanityfairydust) You Might Also Like
NEW EP RELEASE – Bel Cobain ‘Radical Forgiveness’
NEW EP RELEASE – Bel Cobain ‘Radical Forgiveness’ Bel Cobain cuts through the noise with her radical energy and vivid storytelling in new EP ‘Radical Forgiveness’ 11.12.23 Words by Amalia Castle https://www.youtube.com/watch?v=WXcMQ7KEX_8 Last week, East London-born singer-songwriter Bel Cobain uncovered her highly anticipated 5-track EP ‘Radical Forgiveness’ , after teasing with the addicting jazz infused drum and bass release ‘Unlikely’ and poignantly honest ballad ‘Pressure to Exist’. Bel Cobain’s sonic evolution, over the past five years, has led her to a place where integrity and consciousness find the perfect solace in her sultry vocals. The rising singer-songwriter has settled into an important seat within the UK’s growing Neo Soul and Jazz scene. Not shying from sometimes uncomfortable, but necessary, social and political truths, Bel’s most recent project is a true testament to her musical progression. ‘Radical Forgiveness’ sees her exploring the sounds of Jazz, R&B and Drum and Bass, while bringing a clarity to her message through her striking vocals and hard-hitting spoken word. This most recent release showcases the 22-year old’s perceptive understanding of not only the world around her, but of those far from her. Having crafted ‘Radical Forgiveness’ between London, Mexico City and Oaxaca at an artist residency, she tells i-D how inspiration spurred from the striking communities she encountered and their untamed creativity. ‘Wordly Bliss (Interlude)’ is an example of Bel’s evolved consciousness, where she dives into a commentary on the copious atrocities taking place in other parts of the world. She questions her own circumstances, in which she is warm and well-fed and she contemplates that with the current state of the world, for many, ignorance appears to be bliss. In the first track ‘Pressure to Exist’, Bel enters with her evocative vocals and keys that ooze a grounded, tender soul. Setting the tone for the EP, she crafts a sense of release and escapism through her expansive melodies. She looks back retrospectively at a breakdown she had in her late teens, recalling her search for answers;“Is this a breakthrough, or is it a breakdown?”. Having spent most of her life in London, Bel recently decided to move away from the chaos of the capital to the Kent coastline, prioritising her connection with nature and spirituality. Her escape to the tranquil pace of the coast shines through in the slow burn of ‘Pressure to Exist’ and track four, ‘Came Over Me’. As ‘Unlikely’ plays, immediately a new story unfolds. Carried by an exhilarating drum and bass rhythm and a jazz-heavy bass, we hear Bel’s haunting vocals deliver the story of a paranormal encounter she had during her time in Mexico. She intertwines her experience with a poignant commentary on the injustices towards Mexico’s own indigenous people as she sings “feeling sorry for my people who got rigged by the systematic default”. At the EP’s half-way point, Bel strips it down with ‘Worldy Bliss (Interlude)’, which intros with a striking, moody bassline and her ghostly distorted vocals. She holds this same enigmatic energy in ‘Came Over Me’, as she speaks closely to the listener. This time however, injecting a sure sensuality into her cadence and painting pictures of lonely late nights calls that often lead to a momentary bliss – whether it’s good for us or not. Bel wants her listeners to know that ‘Radical Forgiveness’ is more than just an EP, it’s a message bigger than her. “I want to make sure that if there’s anything I leave, it’s a clear message for people to wake up, smell the coffee and do something about it. I’m on radical energy,” she tells i-D. Ending the EP on that same high, she finishes on the hopeful, lo-fi dance track, ‘Awakening’ calling listeners to join her on a path to a higher understanding of the world around us. You Might Also Like