It may still be April, but ahead of the game Getintothis contributors line up a dollop of new music for May.
The world of social media is a strange one, a multi faceted universe where people of all backgrounds can come together, or collide.
For brands, businesses and organisations they can provide a breeding ground for engagement, in many different ways. It’s no different in music, for as much as an artist or band may not like to perceive as such, they are effectively promoting their brand, or not.
Let’s step into the world of pop music, and let’s step into the world of Lewis Capaldi. The Scottish singer has just sold out arenas on a UK tour, and fast tracked his way to heights that many UK artists and bands could only dream of.
He has one single of note, Someone You Love, that has topped the charts, but that and tour sellouts are just the tip of the iceberg. For behind the music, is a strategically delivered social media campaign that can be held responsible for his success thus far.
Instagram, the most visual of the platforms, allows viewers to see into the life of the likes of Capaldi, and it is here that he has gained his recognition. In simple terms, Lewis Capaldi has basically fucked about his way to a sold out UK tour. His Instagram stories, bombarding fans, travelled to other platforms and he became an internet sensation. Shared millions of times, the soft voice that sings the number one single is that of an oddball Scot that can be everyone’s idiot mate.
It’s worked a treat, and those that dislike him can only admire the audacity to expose every detail of his life for a quick laugh and an even quicker sale. It’s music marketing fastracked.
Flip to the other side, though, and last year Getintothis spotted a poster promoting the new single from Ian Brown. With Brown‘s social media used infrequently, and no direct contact with fans made. It sparked fascination online, and deep intrigue.
The lack of social media presence left it up to fans to speculate, and added a layer of intrigue that shared similarities with when mysterious lemons appeared across Manchester, before The Stone Roses announced tour dates in 2016.
Social media for bands and artists is a difficult formula to master, and for artists such as Brown it is almost redundant, there is little promotion necessary. However, if an artist wishes to make social media their weapon of choice in their strive for success, the Lewis Capaldi model is one to take note of. Lewis Ridley, New Music Editor.
After Race Horses parted ways, the line-up as individuals explored a myriad of avenues – playing with Villagers and Baxter Dury, solo projects and more.
Meilyr Jones went on to be Meilyr Jones. Fellow songwriter Dylan Hughes hasn’t popped his head over the parapet much – until now.
The announcement of his new project Ynys (Island – pronounced ‘un-iss’) earlier this month by new label Libertino was an unexpected surprise.
Some things are very much worth waiting for, and it’s beyond pleasing to report that first single Caneuon (Songs) – mixed and mastered by Iwan Morgan (Gruff Rhys, Euros Childs, H Hawkline, Cate Le Bon, Meilyr Jones) in Liverpool – is absolutely bloody gorgeous.
What we have here is that oh so perfect balance of heart squeezing melancholy and joyful melody, understated pop songs with a welcome, warming psychedelic glow. With ghostlike, off kilter harmonies and sweet, quirky keyboards, Caneuon is an ode to songs from the past still loved.
Songs that edge their way into our hearts become dear, lifelong friends; in the chorus, Hughes sings in Welsh of the value and love for the soundtrack of his formative years.
‘I was listening to Gegin Nos,’ he reflects of the 1994 Gorky’s Zygotic Mynci classic, ‘When it all came back, The old lost melodies, always here for you.’
The video to go with Caneuon is as beautiful as the songs itself, flickering from full cinematic colour to monochrome. Concerned with reflections, mirrored images, Dylan Hughes himself appears in blurred black and white photographs, but is still very much there.
There’s more to come from Ynys, more songs based on voice recordings from the past four years or so. Be intrigued at what we’ve got to look forward to – Cath Holland
Bye Louis: Meet Me
Lounge back and get ready to meet Bye Louis.
Armed with an old SP-404 sampler, a guitar, a bass, a small synth and keyboard, he is ready to step beyond his contribution to compilations (including Capital, found on Emotion Wave) and allow us to meet him, up close and personal.
Stripped bare, Meet Me offers us a chance to be introduced not only to his new collection of work, but to him as an artist.
Not conforming to the traditional chilled out genre, Bye Louis has an edge to his work that is so subtle it almost goes unnoticed, but it prevents him from falling into obscurity.
Coming out hand in hand with Give Me Your Dream, Bye Louis has set the stage for his upcoming EP, a perfect trance-inducing collection of tracks. – Megan Walder
If you thought that that punk was having a bit of a renaissance, well now it’s the turn of grunge. The debut EP from London trio Neverlanded has landed with clear Placebo, Garbage and Nirvana influences. Recorded at Hermitage Works Studios with Margo Broom (Calva Louise, Yassassin), there is absolutely nothing fluffy about this offering.
Brace yourself for a modern take on a 90s phenomena with three heavyweight songs and one grunge version of a ballad. In Brainsane , Nirvana is evident from the outset in the first few bars, the song is a huge anthem, fast, furious and full on. MesS.O.S with the catchy lyric “SOS I’m a mess” is erring more on the punk side. This friend of mine, slows down the pace, angst ridden and offering some brief respite until they launch full on into Scream4icecream with its huge driving hooks and riffs. Give it a spin, sit back, reminisce and rejoice that grunge has returned. – Jane Davies
King Monday: Weightless
London based experimental artist, King Monday, brings us his first single, Weightless – the first offering from his eponymous EP, due for release later this year through BonFire Records. With Weightless, King Monday makes a mark, moving away from the traditional soundscapes of the current crop of electronic pop music, instead leaning towards a darker, emotional side. It’s welcoming and above all, it works.
Weightless is an ethereal track filled off-kilter rhythms and solid bleeps, as King Monday sings: “I’m skydiving / but with no parachute / Witnessing the world get closer / I’m freefalling, but never touching the ground / Weightless is the feeling that I hope for / Witnessing the world get closer.”
It fits the mould of something Burial could have achieved if he went full blown pop after his first two albums, Burial and Untrue.
Talking of the track and upcoming projects, Monday says: “This piece intends to describe the desire of being free from all burdens. Feeling weightless translating to the notion of having the pressures of life being lifted. This EP has a running theme of life and is part of a collection which will be released this summer entitled Life Things (part 1-2) which focuses on the observations of life as a young adult in London; a city rife with opportunity, but also with socio-economic boundaries that causes unhappiness in many.”
It’s very London and it’s very now. – Simon Kirk
Japanese Television: Bloodworm
Instrumental Psychedelic music? Step yourself over here for a listen of London based Japanese Television.
Crossing paths whilst on tour around Europe, Ian Thorn and Alex Lawton shared musical interests in Pink Floyd, Brian Eno, Television, Broadcast and Circle. Upon which the pair doubled up with James Moriaty and Tim Jones to form an instrumental space-surf band. Partnering up with Kristian Bell of the Wytches a self-titled debut 4 track EP was released last September.
Returning from an under the radar tour in February, Bloodworm has been brought to the fold ahead of a 6 track EP release due on July 24 through Tip Top Recordings. Bloodworm grows around you from a state of familiar serenity to one of progressed hypnotism.
Without vocals your own mind is allowed to travel in tune with your fired senses that the track invokes fuelled by the surfing bass and guitar. Fuzzed up reverbs and synths on repeat, you can feel yourself falling into one hell of a hole. Keep your eyes out for these. Shows to be expected. – Harry Rigby
Max Bloom: To Be Alone
The name Max Bloom might ring a bell if you were hot on popular music mags in the early 10s.
Expect a couple more tracks this year and a full album further down the line. – Luke Halls
Cincinnati rockers Carriers are back with Patience, the first single off their upcoming debut LP due for release on August 23. Following 2018 track Pace of Mine, the first track from Now Is The Time For Loving Me, Yourself & Everyone Else offers a calm and relaxing start. With soothing vocals and lyrics, the track has great meaning and an melodic sound.
Speaking at the tracks premiere, Carriers’ Curt Kiser said it was about: “appreciating what we have while still being able to have an honest perspective of the past and our future.”
Having played shows across America already, the latest song is bound to be a hit with fans and is a great opener. – Amos Wynn
Red Sails: Sit On Your Hands
Liverpool outfit Red Sails have released two singles in quick succession this month, Warzones and Sit On Your Hands come hand in hand but as very different tracks. The former is a delicate track that ticks along slowly as a four minute ballad with harmony and warmth.
The video for Warzones has a tale behind it, it was sent very much out of the blue to the band by a friend of the band – a nice surprise for the band, and us listeners.
Following on from Warzones, the second single sees the band engage with their blues rock and roll influences. It’s a punchier track, anthemic and atmospheric. Aside crashing cymbals, keys get involved too, with some middle era Charlatans vibes kicking around.
As a pair, the two tracks compliment each other and evidence a diversity in songwriting that Red Sails can lay claim to. – Lewis Ridley
Blood, the latest track from Manchester-based outfit Hollows is unlikely to convert any naysayers, but nonetheless finds the band playing to their strengths.
Initially built around a looping piano motif and acoustic guitar, before building into a slow burner, the song is held together by frontman Sean Davies‘ vocals, which bring to mind tinges of Matt Bellamy.
Arguably not a radical departure from previous offerings, yet it’s a safe bet that folk who enjoyed said releases will find much to love here. – Matthew Loughlin
Marble Mammoth: Lonely
Stay is the more immediate of the two, a slick pop groove with choppy riffs colliding with racy synths, however, it’s most recent release Mirror which is the grander affair. What begins as gothic chamber pop transforms into a colossal ballad complete with monumentally towering guitar histrionics with hints at unrequited love and mournful melancholia.
Impressive beginnings – we can’t wait to see how Slye blossoms. – Peter Guy