SINGLE REVIEW: Weekly Round-Up 22/04/24 - 28/04/24
John Trahan - Thank God For Kids
John Trahan's cover of 'Thank God For Kids', originally by The Oak Ridge Boys, takes a refreshing leap from the dreamy, whimsical ballad into a lively Americana tune brimming with exuberance. Swapping the delicate strings and festive air for triumphant guitars, joyful fiddles, and bright, splashy drums, Trahan transforms the song while treating the original with the utmost respect. His vocals, perfectly southern with a charming rasp, give the track a familiar, inviting quality. As someone who's typically sceptical about covers, I find that John has excelled in producing a version that feels entirely new and invigorating.
Alley of the Dolls - Polyamory
'Polyamory' explores the intricate balance between risk and reward, pleasure and pain, within its gritty, grungy landscape, adorned with angular textures and hard rock grandeur. Bursting with attitude and swagger, the track delivers hazy, raw vocals with an authentic edge, accompanied by shimmering killer riffs that define its core sound. It's a powerful and entrancing offering that encapsulates the theme's dynamism with unapologetic boldness, weaving together elements of raw emotion and hard-hitting musicality.
Charlie Risso - Railroad
'Railroad' is a beautifully crafted track that marries ambient, ethereal textures with an electro-pop beat. The song features wonderfully layered vocals that are both unique and distinctive, enhancing its dreamy and delicate quality. Yet, it simultaneously channels an '80s-inspired synth-pop vibe that's eerie, sterile, and vaguely menacing. This dynamic sound palette skillfully mixes atmospheric elements to create a multifaceted sound that's both inviting and intriguingly complex.
Burn Kit - Release
‘Release' is a vibrant nod to '90s jangle pop, shimmering with glittering, infectious guitars that blend seamlessly with the erratic, angular sounds of post-rock. This concoction collides with the brashness and protesting nature of punk, embodying a delightfully DIY ethos that prioritises innovation and diversity over conformity. It features articulate, arty vocals and an urgent, playful sound that's both catchy and fun. The addition of gang vocals brings an extra layer of energy, enhancing the song's infectious allure, making 'Release' a invigorating and compelling track.
Kingdom of Desire - Lost
'Lost' emerges as a hauntingly melodic and atmospheric track, weaving dark, eerie undertones with absorbing soundscapes. Delicate pianos set a sombre, hypnotic tone, complemented by gentle, fragile textures that enhance the song’s depth. The tempo shifts add an extra layer of immersiveness, transitioning smoothly as the track kicks in with impactful distortion and robust post-rock elements. The vocals are wonderfully toned, carrying the emotion of the piece with a professional finesse that seamlessly blends tempos from soft to bold and anthemic. Drawing influences from '80s power pop and alt-rock, 'Lost' explores themes of dependency and the profound sense of disorientation felt in the absence of another person, making it a compelling reflection on emotional reliance.
The Flashpot Moments - Reclamation
‘Reclamation' captivates with its richly layered guitars and expansive, singalong melodies, complemented by densely stacked harmonies that contribute to its confident, shimmering sound. The vocals are thoughtful, elevating the anthemic feel of the track, which is anchored by a catchy chorus. Drawing comparision to early '90s indie acts like The Railway Children, it merges with impactful alt rock elements to create a sound that is perfectly nostalgic yet dynamically modern. 'Reclamation' is both exhilarating and infectious, capturing the essence of a genre-spanning blend that resonates with listeners looking for depth as well as immediate appeal.
Mullberry Hill - Fallen in Love with What Could've Been
'Fallen in Love with What Could've Been' emerges as a sonic journey of erratic sounds intertwined with glitch elements, creating a vibrant tapestry of sounds. The track features spikey riffs and great gang vocals that add to its rugged charm. With diverse influences blending indie innovation and non-conformity with the raw energy of garage rock, along with pop-ish melodies and hints of breakbeat energy from DnB, it defies categorisation. Mulberry Hill rejects the mainstream, crafting a sound that's crazy, quirky, and utterly unique. They've thrown the rulebook into the fire, opting instead to make noise, have fun, and defy classification with their eccentric and elaborate style.
Freddy Morris - R.I.P.
'R.I.P.' captivates with its raw, DIY ethos and arty, atmospheric indie vibes, enriched by the static buzz of post-rock. The track stands out with glitchy experimentation, melodic yet erratic structures, and a soundscape marked by reverby guitars and twinkling keys. Its quirky sound cleverly complements the narrative: a nod to those who left X (formerly Twitter) after Elon Musk's takeover, reflecting Morris's support for personal stands on principle while he remains active on the platform. This blend of sonic intrigue and subtle social commentary makes 'R.I.P.' both distinctive and engaging.
