26 May 2016

SODY - "SORRY" (POP, UK)


Let us introduce you to London based singer/songwriter Sody, the moniker deftly used by Sophie Dyson, a prodigal pop-rocket of talented artistic nerve and gusto professionalism whose sauntered pop ditties fizzle with expressionism. Teaming up with Parlophone's Martin Luke Brown, their collaborative efforts have paid off handsomely with Sody's track "Sorry".

Displaying a mixture that is part tenacious R'n'B attitude, part effortless cool-pop, Dyson's implementation of music is nothing short of incredible. Her genius and the ability to work in tandem with producers Luke Brown and Phil Cook effectively demonstrates her assured knowledge of sounds and the direction she wants to head towards. "Sorry" is an emotively truncated slither of darkened pop, warbled synths and brooding beats that is youthfully compendious throughout. Sifting through the heartfelt baggage of that very word, sorry, and its associations Sody explores all angles without hesitation. This London starlet already has a knack for producing sublime pop with twinkling electro vibrations and soulful vocality and at only fifteen we are lost for words.

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25 May 2016

HAVE YOU EVER SEEN THE JANE FONDA AEROBIC VHS? - "(DO THE) SHÄMÄLÄIN", (SIXTIES ROCK, FINLAND)


With possibly the longest ever band title in history, we cannot help but get overly excited at this three piece from Kouvola, Finland. Their amalgamated thrashment "(Do The) Shämäläinfuses together gritty Brit-rock with camp sixties swing to create some sort of punchy American bedroom-pop, snarling grunge behemoth. Let us elaborate further.

Newly resurfaced on Soundcloud, this song might be a year old but who cares. Have You Ever Seen The Jane Fonda Aerobic VHS? are a very dexterous band. We cannot emphasise this enough. Blending discordant musical elements from genres aplenty should never work on paper, but in this instance, the Finnish trio do it absolutely perfectly. Delving into the schisms of frenetic sixties jazz-pop reverie in the same vein as The Pipettes car crashed with shouty Those Dancing Days choruses and rebelliously soaked in retro grunge-rock that screams The Prisoners is what we think describes "(Do The) Shämäläin" best. A cohort of scuzz riddled guitars, catchy drum beats, characterful synths and sharp lyrics reveals a band that can control sounds with diligence and charisma. Praise Jane Fonda!

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KAZY LAMBIST - "ON YOU" (EVERYDAYZ REMIX), (ELECTRO-POP, FRANCE)


Keeping it an entirely French affair, EVERYDAYZ have decided to remix the year old release of "On You" by fellow countryman and Montpellier resident Kazy Lambist by giving it a little added 'Je ne sais quoi'. Pouring goliath electronic surges and altering the genetics of the already impressive first incarnation has generated a splendid multi-genre sound journey.

Initially lulling you with falsehoods of woozy expeditions into the minimalist yonder amid glowing coos and whispered French, EVERYDAYZ quickly varnish the original structure of "On You" with a cacophony of enticing musical inputs. Switching to breezy English vocals at the drop of a hat, the introductory sequence moves forth with energetic drive as viscous reverberations, bass line flux, delicate lyrics, tinkered beats and hollowed digitalism concordantly dance together; the eventual crescendo is a cosmic voyage skipping between onyx electro outcrops and salubrious pop streams. Kazy Lambist and EVERYDAYZ have nurtured what can only be described as a beautiful piece of music that exudes each artist's style and production ethos.

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THE ACES - "STUCK" (POP, USA)


Brand new all female debutants The Aces hail from Provo, Utah, a place you would not necessarily consider when we mention that these four sound remarkably like an American version of Fickle Friends with their own unique quirks and surf-pop applications. Cristal, Alisa, McKenna and Katie are set for good things and we are very excited indeed.

Their first excursion is a brilliant and solid thoroughfare of bronzed guitar riffs and gusto drum beats; appearing to swelter and skirt around with youthful verve, we have deduced that "Stuck" is a strident piece of music that details a particular issue involving the feeling of entrapment or a lack of direction. Conveying frustration and feminine guile is a potent culmination for any song and the amiable percussive antics that the girls demonstrate almost belies the less positive nature of the song. Quite some feat to pull off we think. Sunkissed instrumentals, infectious choruses and a splash of American determination ensures The Aces have produced a resonating beach-pop debut that is fun and memorable.

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BELGIAN FOG - "ONE NIGHT MAN" (FOLK-POP, USA)


Belgian Fog is the appellation used by Seattle resident Robert Dale. The man himself has been causing quite a stir within his locality due to the whimsical streams of dream-pop and folky undertones that surround his work; recent release "One Night Man", is a venture that stays true the Belgian Fog ways and to the cutesy sounds of previous efforts.

From what we can gather, it seems Mr Dale is wearing the metaphorical heart on the aural sleeve as he confesses to his softer musings. Is this modern renegade someone who breaks hearts in the midnight hours or someone who lusts after more when the sun rises and the need for coffee kicks in? Whatever the case this quintessentially hazy affair of furtive beats, tropical synth echoes and candied harmonies is a beautiful window into the psyche of the singer at hand. Like Gypsy And The Cat or Tom Redwood with sincerity at its inner core, this folk-tronic pop nugget of lovely tinkles and charming keys is the perfect track to amble along the pavement to in the summer heat and reveals Belgian Fog's gentler side.

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COMMANDEUR - "WASTED" (ARDENCY REMIX), (ELECTRO-POP, AUSTRALIA)


We have another Sydney based artist here in the form of Commandeur, a soul-pop maestro whose gentle layering of sound and seamlessly orchestrated ideas effortlessly work together. The production duo of Daniel Noguera and Christian Gomez, known as Ardency, have decided to dabble with the soloist's original to produce something altogether more astrally in tune.

"Wasted" is a paradisiacal expanse of swooning synths and monumental reverb that drips a fluid soundscape across the prevailing three minutes of your life to enrich your ear canals with pristine electronic maneuvers. Sounding almost like Mmoths in places, The Sound Of Arrows in others, this celestial carpet ride into the stellar realms of lo-fi electronica and lucid slow-pop is in perfect equilibrium between multiple genres and production technique; there is a calming and wondrous transience with the whole affair that captivates from start to finish. "Wasted" is an exemplary marriage where the expertise of Commandeur and Ardency revels in a phantasmagorical wasteland of electro-pop elements.

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24 May 2016

TIFFANY - "I JUST WANNA DANCE" (POP, SOUTH KOREA)


To those of you with a very keen eye, Tiffany is actually from the K-Pop supergroup Girls' Generation. Being the second member to go solo and with an impressively received debut album the South Korean starlet has spectacularly plated up a softened and multi-faceted pop ditty with European genealogy.

Tiffany excellently manages her musical direction with this latest effort as grazed reverb, gloopy bubble synths and syncopated keys fritter along with delightful execution. Buoyant from the offset, "I Just Wanna Dance" displays the jovial side to the South Korean as twinkling beats and punchy vocals work together into an etched slab of sophisticated pop submersed in delightful choral flourishes. The summary vibes and eighties charisma of Cyndi Lauper meets Whitney Houston percolates through to form an inter-contextualised sound framework that borrows the best of songs past with the contemporary nous of Tiffany and her wealth of candy-pop experience. K-Pop at its beautiful best.

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BROADHURST - "LITTLE LOVER" (TEEMID REWORK), (POP, AUSTRALIA)


OK, so this song is a good six months old but we have only just discovered it and we are compelled to give it a little review. Sydney resident BROADHURST has a veritable knack for creating superfluous pop entities and his release "Little Lover" has been sprinkled in Franco-centric electronica thanks in part to producer TEEMID.

An authoritarian drum beat is easily recognisable within the opening progression of this record, maintaining an overarching semblance of musical unison. Additional thudded beats and galactic key swirls stroke each body of softened vocals with complimentary fashion; those foundations ensure that TEEMID's digital malleability of "Little Lover" doesn't stray from the genius of BROADHURST's original but instead polishes it off with a shimmering cinematographic lacquer: haunting, profound, tranquil. This reworking showcases dulcite electronic pop between two differing artists that gels together nicely, turning it into a cohesive, emotively strung piece.

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DWYR - "ALREADY GONE" (HOUSE, SPAIN)


The star appears to be rising for Spanish producer DWYR of late as his salacious deep house tears up his residency at Madrid's famed Goya Social Club. Having boothed alongside the reputable likes of Alex Metric the latest slice of Iberian groove from the DJ utilises the hefty vocals of Nashville's Ashe to maximise effect.

Beginning with a cosmic array of bleeps and entrancing steps, "Already Gone" immediately paints a digital music landscape that cascades forward with the right dose of energy and audio input. Ashe's succinct vocal tones are deftly manipulated and elongated in places to give a sense of spatial freedom and contiguous atmospherics that mirror the introductory sequence. DWYR really comes into his element as harmonies ebb away in favour of rhapsodic Euro-house motions; slender, lionised and perfectly resonant, this anthemic summer track promises much from the established producer and showcases his abilities to conjure up another clubbing beast.

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ASTRID S - "HURTS SO GOOD" (POP, NORWAY)


Astoundingly this pop starlet who follows in the hallowed footsteps of fellow Scandinavians Tove Lo, Say Lou Lou and Zara Larsson is only nineteen years old but already her curt lyrics, towering vocals and slick electro-pop indulgences have made significant ripples in the music world and it shows no signs of curtailing.

"Hurts So Good" is a cathartic pop ballad that splutters emotive angst across a soundscape of blistered electro synths and translucent beats from the very beginning; partly fraught in places, melancholic in others, it is hard to pinpoint whether the solo artist and former Pop Idol contestant is content with the pleasure-pain symbioticism of a relationship or that it is more a case of trivial emotive malaise. Either way this track remains fiercely stoic as independent clicks and digital reverb rousingly soar together in combination with Herculean vocal notes. Hefty choruses and pooling interludes mean this icy slow-pop number gives further credibility to Norway's latest talent.

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13 May 2016

PARCELS - "HEREFORE" (ROISTO REMIX) (DISCO / FUNK, GERMANY)


Based between Australia and Berlin is quite a stretch for the purveyors of agitated digi-funk grooves. Having carved out a distinctive sound that sidles between tropical genre blends comes naturally to the five piece. Add the quintessentially vivacious tribulations of Finnish producer Roisto and you have an absolute banger.

Courtesy of Roisto and his Kitsuné pedigree, the renowned producer has managed to use the enigmatic house-funk exultations that typify the Parisian label, lacquering Parcel's original cut in a salubrious and buttery mix of discotheque summer soiree meets retrospective seventies camp. "Herefore" sidesteps between heightened synth pitches, chortling keys and a thumping injection of kinetic beat revelry. Coppery in places, fluid in others, Roisto has managed to take the precise characteristics of Parcel's original masterpiece and immersed it into a vat of noxious funk-infused Franco-centric grooves.

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10 May 2016

GYPSY AND THE CAT - "I JUST WANNA BE SOMEBODY ELSE" (ELECTRO-POP, AUSTRALIA)


We first blogged about Australian music stalwarts Gypsy And The Cat several years ago when they captured our hearts with their unique skew on tropicana electro loops and glistening pop notions. It seems that despite the time that has elapsed, the band have not lost any of that genius and their newest release is the perfect example.

"I Just Wanna Be Somebody Else" is a hazy skip into a melancholic universe of midnight synth reverie and trumpeting bass line reverberations cuddling R'n'B notions tightly to crackled pop morsels. Heightened pitch and dual harmonies give an azure-tainted sense of uplift despite the sombre lyrical interjections making this track altogether conflicted in how it should be received. And rightly so. The sung words capture a fraught sense of human thinking and raw thought among a cascading string of choral fuzz and sweltering percussions. Gypsy And The Cat made us wait several years, and it was definitely worth it.

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GOLDEN VESSEL FT LASTLINGS - "NEVER KNOW" (ELECTRO-POP, AUSTRALIA)


Golden Vessel is the moniker used by Brisbane resident Max Byrne. His midnight noire-tronica excursions have given the producer a notable presence within his Australian market. In "Never Know", the second single from debut EP "Before Sleep" Byrne teams up with the eloquent sibling duo of LASTLINGS.

What initially strikes us about this latest cut is the sublime layering of instrumental elements; almost tentative and wary, bottled clinks and desolate synth whirlpools lackadaisically marry together to give a sense of creative openness within the introductory sequence. Feeling extremely organic in its construction, LASTLING's melodic vocals caress gentile keys and ushered riffs with a sense of fragility. Such celestial electro perfectly emphasises Golden Vessels' intricate sound detailing specialisms: hypnotic, dreamy, ruminating. By establishing an acoustic equilibrium "Never Know" maintains a swooning continuum celebrating these two artists' craftsmanship.

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09 May 2016

AREA 52 - "WHAT DO YOU WANT?" (ROCK, UK)


For a band this in the fledgling and developmental stages of their music craft, Area 52 are wonderfully adept and have sculpted a devilishly intriguing sound all to their own. The Reading based five piece of Rose, Max, George, Cat and Katie are lined up to appear at this year's Great Escape Festival and we are very pleased indeed.

"What Do You Want?" is an unashamedly angst fuelled slab of California bathed college rock that snarls through razored guitar slams and fuzzy riffs; tenacious drum beats bound forth with gusto ensuring each instrumental division is nudged unerringly together with a broad sense of cohesion. Paramore in places, Operator Please in others but still conforming to the Area 52 blueprint, this Reading band have managed to produce a boisterous pop-rock number through and through. Marrying together meaningful lyrics and vocal exasperations with a youthful dose of blasé attitude and guilty pleasure head-banging scuzz is just what the doctor ordered.

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DILLON FRANCIS AND NGHTMRE - "NEED YOU" (MOOMBAHTON / TECHNO, USA)


For all things related broadly to the genre of dance music, Los Angeles has established itself as the creative hub within the United States of late. The fact that two of L.A.'s biggest producers have teamed up to produce a storming behemoth in the form of "Need You" is testament to such beliefs.

With recent collaborations involving DJ Tiesto and Tommy Trash, both artists have incorporated their own unique styles into a strident and domineering wedge of dance-hall energy. Forceful moombahton beats generate a solid foundation for "Need You" as tectonic synth glitches fraternise with heavier digitalised elements to vibrate menacingly throughout the duration of the track. The addition of fiery house vocals adds another dynamic facet to the production between each chorus build up and encourages each contradictory input to jostle for centre stage without compromise to the overall impact of Dillon Francis and NGHTMRE's sizzling record.

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VOES - "LIVE THROUGH THIS" (POP, UK)


There is always a song out there that makes you go all Cyndi Lauper with a hairbrush in one hand, Gin and Tonic in the other as you stare into the mirror and sing your little lungs out. Voes' latest track allows you to do just that as the four piece serve up an eighties power anthem on a platter.

There is not much information surrounding Harriet, Philip, Shane and Jack but mystery aside, what we do know is that they have a very individual sound. "Live Through This" is an indulgent cavalcade of momentous synth waterfalls and intrepid drum beats; glittering in places, shimmering in others, each musical element intervenes with the other for attention and layers power-ballad realness with striking pop tribulations. Over-saturated choruses spill forth as Harriet's vocals pepper the musical background with striking resonance and expressive pangs of feeling rich in lyrical passion. Voes make retro-pop something to be celebrated once more.

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AMANDA MERDZAN - "GLOW" (POP, AUSTRALIA)


Within the circles of her domestic market back in Australia, stoic music songstress Amanda Merdzan has a reputation for producing ambient slabs of mood-pop. Therefore the singer songwriter's abilities to produce such noteworthy pieces places her in good stead with new single "Glow" waiting in the sidelines.

Merdzan's voice is what carries her latest single along; with effortless guile, her vocal prowess mesmerises at every opportunity in front of a chill-wave shimmer of whooshing synth uplifts and indulgent slow-thwack beats. It is very eighties in a glittering, crescendo-building sense of proceedings as vocals ascend gracefully and sweetened instrumentals follow suit. Delicate in places, steadfast in others. Merdzan manages to strip back music to the very last sinew and construct a minimalist down-tempo pop song that is both striking, artistic and refreshingly simple.

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FLAWES - "MISUNDERSTOOD" (ELECTRO-POP, UK)


With endorsements from BBC Introducing and The 405 after the release of their debut single last year, it comes as no real surprise that Huddersfield three piece Flawes have something special about them. With surging electronic pulses and smoky pop leanings, Josh, Josh and Freddie are onto a winner.

Released as the second track on their "CTRL" EP, "Misunderstood" is perhaps, well, a little misunderstood having been overshadowed by the more accessible "Consolation". However, we like "Misunderstood". It is understated, brooding and efficacious. Echoed purrs, thudded beats and lo-fi glitches scatter the musical background in morose electronic ambitions. The sombre vocal tones ensure things remain emotively angst driven until the chorus. That chorus. "Misunderstood" alleviates itself in spectacular fashion as sparkling keys and an air of positivity nudge the record on, distancing itself from any melancholia. Soaring electro-pop at its absolute finest and fully understood.

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KYLA LA GRANGE - "HUMMINGBIRD" (POP, UK)


Kyla La Grange has done well for herself, especially so since 2014 album "Cut Your Teeth". Since then the phenomenal solo artist has been in the studio and perfected her sound even more. Traversing further into the electronic realms she has verged on previously is evident in her latest cut, "Hummingbird". 

La Grange states that Hummingbird is about "the different versions of yourself ~ trying to sit comfortably in your own skin". That introspective sentiment gives a greater understanding and interpretation to the track and all of this between vibrant tribal beats and lucid synthesised atmospherics. The whole affair is fantastically overt. Towering chords and La Grange's spectral vocals drift across the soundboard in silken nineties pop fashion. Ace of Base's "All That She Wants" springs to mind. Why? Who know's. "Hummingbird" is a well judged wander into the realms of electro-pop and we think Kyla La Grange is welcome there any time. 

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08 May 2016

AL BAIRRE - "LET'S FALL IN LOVE SOME MORE" (INDIE-POP, SOUTH AFRICA)


This band put a smile on our faces. Al Bairre from Cape Town, South Africa cannot help but make beautifully sun-kissed, almost sickeningly too cheery music. The four piece will be appearing at The Great Escape Festival and it is a gig not to be missed for a second.

"Let's Fall In Love Some More" is a track that skips along rather nonchalantly as a plethora of instrumentals compete for attention. A ukulele here, a drum beat there, sounds piercing through the production fretwork into a boisterous summer indie anthem. Like Bombay Bicycle Club on Prozac, the dual male female harmonies on offer trickle wonderfully along as the record gains momentum flooding into excitable choruses and orchestrated fancy. Al Bairre manage to identify the key elements of pop and indie, smashing them together with youthful brashness into a cute summer tune. Happy days.

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MARTHAGUNN - "HEAVEN" (INDIE / ROCK, UK)



MarthaGunn are a five piece from Brighton who have already made a significant impact on the local music scene thanks in part to their individualistic sound that blends Americano folk-rock sensibilities with nostalgic seventies indie-pop. Debut jaunt "Heaven" fashions this sound further, giving us something to be very excited about.

MarthaGunn's assured sound belies the band's relative infancy, which only enthrals the listener further. "Heaven" is a coppery beast of fervent riffs and reverberations; steady at first but quickly channelling Abi Woodman's rousing vocals between snappy drum beats and warming percussive layers. A melange of Fleetwood Mac, Florence And The Machine and Those Dancing Days reconstructed into a contemporary indie-rock troupe. As "Heaven" progresses it gains an energetic vigour underpinned by solid lyrical delivery and hungry instrumentals, making it a powerful track indeed.

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07 May 2016

GRACE LIGHTMAN - "FAULTLESS" (POP, UK)


If your debut release catches the attention of radio's Lauren Laverne then you know you are onto a winner already. Luckily for London's Grace Lightman, she has already honed her musicality into something that beggars belief considering how new to the industry she is.

Now we hate to use direct comparisons, but there is an unequivocal resemblance to Kate Bush; her grandiose harmonies, taut inflections and spatial cooing. Of course Grace sounds very much her own person, as her vocal abjectness trickles neatly across wallowing synth canvases; a celestial noise board of zorbing keys and thoughtful expanse. "Faultless" is an eighties neon-dipped ballad full of force and decadence. Each chorus vibrates with thudded energy and an overarching sense of retrospective whimsicality. Lightman captures the very essence of pop, R'n'B and electronica and delivers a track that impresses throughout.

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FOXES - "CRUEL" (POP, UK)


Foxes has had a successful past year by all accounts, despite a truly brilliant debut album that did not get the recognition it deserved. However, the second album promises much of the same fantastical dreamy pop that Foxes makes so well if latest jaunt "Cruel" is anything to go by.

Southampton's Louisa Rose Allen, or Foxes to many, has taken a delicious Balearic beat and built up "Cruel" around such imposing foundations; with a steady tempo, sporadic clicks, subtle jingling bells and a viscous bass line, this record has a weighty presence full of differentiated musical elements that work together in unison. Partly slow-warped reggae mix, partly rousing dance anthem with breathy vocals, Foxes has churned together another perfectly crafted pop song that borrows elements of various genres and utilises them to full effect.

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ROOSEVELT - "COLOURS" (DISCO-POP, UK)


Roosevelt is the chosen moniker of Marius Lauber, a singer, songwriter and production extraordinaire whose fanciful pop creations are nothing to be sniffed at. With an extensive list of gigs under his belt, a great reputation and a debut album at the ready, now seems like a good time for the solo artist.

Fusing percussive tribal beats with skittish electro chirps and humid key changes is always something that will grab our attention and fortunately "Colours" does just that. In the same vein as Foals and The Other Tribe, Roosevelt manages to envelop his sound in a warm atmosphere. Swirling pools of nu-disco beats and frittered synth changes spill out as each chorus fully erupts and festoons the soundboard with summer hazed instrumentals and pointed lyrics as Lauber details the moment someone leaves you and they remove that certain something from your life. Disco-pop is back.

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06 May 2016

LUCAS NORD - "I DON'T NEED YOUR LOVE" (ELECTRO-POP, SWEDEN)


Lucas Nord is one of those musicians who doesn't realise how good they are. At twenty four he has already worked with Tove Lo, attended the Rytmus School of Music in Stockholm and has single-handedly produced numerous works that have been positively received. His latest venture showcases once more his effortless application.

This time Nord has enlisted Hampus Lindvall to snare his production nous into one effervescent slice of electro-pop. Showering high pitch vocoded song title mantras in tandem with a preppy back beat and whirling synth channels is the perfect start to this track. As Nord flexes his craft "I Don't Need Your Love" begins to summon the message of the song from within the choruses; this is about investing in someone and not being loved back. Nord's emotions transcend each digitalised output to dexterously merge the record's fragile nature with charismatic disco-pop tendencies. To do that is something rather special indeed.

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LITEK FT GRACE DAVIES - "DROP THAT" (HOUSE, UK)


Based between Manchester and Leicester where he often tours the local club circuits, LiTek is a producer who has always known his vocation at a young age and that is clear by his musicianship. Having worked with the likes of Arlissa, Shadow Child and with remixes of Azealia Banks, LiTek has serious credibility.

His debut jaunt has finally dropped and it is everything we were expecting. Starting off with an intrepid back beat that quickly mingles with oscillating deep house movements immediately dictates the pace and nature of "Drop That". Its progressive sound overlays and digitalised vortex realms snowball together into a punchy bass driven chorus ensemble. Couple all those attributes to the slick vocal presence of Grace Davies and you have one hot slab of neon-soaked Deutsche-house grooves to whet your appetite over the weekend. 

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BLACK HONEY - "ALL MY PRIDE" (ROCK, UK)


After a successful previous year Black Honey move rampantly into this year with a plethora of gigs under their belt and a new EP in the form of "Headspin" tearing up proceedings. Now the Brighton darlings consisting of front woman Izzy and fellow bandmates Chris, Tommy and Tom have mustered up another sure fire smash in the form of "All My Pride".

Despite being a few months old, "All My Pride" demonstrates those characteristics we have come to love about the band: snarling riffs, thunderous drum beats and truncated guitar lines that cavort together in an octane-induced thoroughfare of metallic surf rock meets assured indie sensibilities. Izzy's glittering stage alter-ego emanates amid sweltering instrumentations full of braggadocio and swaggered lyrical verve from start to end. For some reason this powerhouse anthem reminds us of No Doubt's "Sunday Morning". We're not sure why, but it does. Either way Black Honey have notched up absolute cracker.

Check out the Soundcloud below then be sure to spread the new music love and share, re-post and re-tweet this review.



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GRACE SARAH - "UNDERWATER" (ELECTRO-POP, UK)


At eighteen, Grace Sarah has an approach to music and a production finesse that belies her years and position within the industry. Having ruffled up support from BBC Introducing, the Cambridge songstress is a noteworthy talent to keep an eye on and her most recent release is why we are excited.

Almost instantaneously "Underwater" feels expansive as thoughtful keys delicately entwine with hollowed soundboard inputs to drive forth a progressive choral build up. Fluid in its entirety Grace Sarah's vocals rise elegantly between each beat as this mid-tempo dance number gathers momentum spilling forth an array of rippled synths and lofty ambience. Feeling like a polished effort from Keep Shelly In Athens or Vanbot, Grace Sarah manages to encapsulate the finer nuances of pop and blends them with Ibiza dance grooves.

Check out the Soundcloud below then be sure to spread the new music love and share, re-post and re-tweet this review.



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