Whenever The Plain White T’s come up in conversation, it is seemingly impossible to get in more than a few words before their magnum opus “Hey There Delilah” is mentioned.
Tag Archives: Indie-Pop
Michigander Breaks Down the “It Will Never Be The Same” EP and DIY Music
Ghost Cult’s Keefy chatted with artist Jason Singer, a.k.a. Michigander! Armed with a new EP – It Will Never Be The Same, Jason recently completed a headline tour. We discussed the origins of his music, getting gravely injured – breaking his leg in the woods filming the music video for “Superglue” – moving to Nashville from Detroit, working with Manchester Orchestra, and more! Continue reading
ALBUM REVIEW: Adanowsky – The Fool
The multicultural and multi-talented Adanowsky has turned his hands to many things – acting, directing, producing, and making music. Written during the pandemic and taking inspiration from tarot cards, is his latest album The Fool (Universal Music Mexico). This is the French-Chilean-Mexican polymath’s tenth album and it is a down-to-earth one; a soft and melodious melting pot of pop, indie, folk, funk, and his Latin American roots.
ALBUM REVIEW: boygenius – the record
How often can it be said when speaking of supergroups that its individual members are at the peak of their powers? The only reason it perhaps cannot be said of the members of boygenius is simply that it feels like the trio is on the ascent if anything.
ALBUM REVIEW: Simple Plan – Harder Than It Looks
The very nature of Simple Plan’s hotly anticipated sixth record, Harder Than It Looks (Self-Released) is actually doubly prophetic. The French-Canadian fourpiece have kept it rather simple indeed since they hit it big with ‘I’d Do Anything’ way back in 2002. Not known as a hugely poetic or introspective lyrical band, the pop punkers instead let the music do the talking in all its springy, bobby greatness. That’s not to say the means by which to achieve this is easy, hence the album title.Continue reading
The Wild Things – You’re Really Something
Projects led by famed individuals can be a tricky situation. Some actors turned musicians have excelled with their additional ventures like Jared Leto and Steve Martin. But when it comes to releasing a debut by already known participants, playing it safe can be a downfall. Continue reading
Purson – Desire’s Magic Theatre
Those unfamiliar with the sonic charms of Purson may wonder if the glut of praise engulfing the Southend quintet is garnered mainly by mystical talisman Rosalie Cunningham. There’s more than enough retrograde magic oozing from the pores of second album Desire’s Magic Theatre (Spinefarm Records), however, to justify the hype.Steeped in Folk-Pop whimsy, ‘Electric Landlady’s blend of mid-70s Glam and Prog is graced with oscillating organ notes: its wistful melodies leaning towards All About Eve, alongside Cunningham’s Julianne Regan-like plaintiveness. The vocal lines of the Folky, progressive ‘The Sky Parade’ possess that band’s brittle, striking harmonies and evoke their halcyon days beautifully, whilst the body of the track retains an eerie chord structure and pungent atmospheres. ‘The Way It Is’ and ‘Mr Howard’, however, bring comparison with the Indie-Pop of Regan’s short-lived Mice project: despite this, the Psychedelia coursing through the album increases the heavy feel of the latter’s rhythms.
Creativity abounds throughout: ‘Dead Dodo Down’ intersperses circus-style cascades with the brassy quirks of Tori Amos circa Boys For Pele (Atlantic / East West), all underpinned with that heady whiff of patchouli oil. Indeed, it’s not the only nod to the Goddess of Heartbreaking Piano: ‘Pedigree Chums’ remains rooted in the …Pele experimentation, seedy sax embellishing a lazy, hypnotic delivery and Raphael Mura’s mesmeric drum sequences. The languid, swaying ‘The Window Cleaner’ and closer ‘The Bitter Suite’, meanwhile, perfectly embody the retro, ‘60s Hippie’ feel, possessing subtle Eastern progressions and an air of The Doors’ lighter moments. ‘…Suite’ is the most experimental chapter: moving passages accompanied by flute solos and Jazz inflections, whilst the elongated bridge is reminiscent of Bugsy Malone’s introspective scenes.
Nobody, however, can deny the influence of latter-day Beatles on the whole set. The dreamy ‘I Know’, its gently infectious vocal marrying with a ‘Sgt Pepper’-style centrepiece, is the greatest example: but the hallmark is everywhere and, strangely, it’s no bad thing when conducted by such a free, mischievous spirit. Radiating sunshine from even its most melancholy moments, Desire’s Magic Theatre will delight anyone who yearns for that 70s quirkiness to infect their lush, harmonic heaviness.
7.5/10.0
PAUL QUINN
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