Sometimes all you need is a spark. When Grey Collective’s Adio Marchant (Bipolar Sunshine) and Gaika started expressing a keen interest in the music of HMD, it led to an interview on Manchester’s influential underground radio station Reform Radio. As a regular listener of late night show ‘The Witching Hour’; I was immediately drawn to the story of Hamdi Hassan, who spent his formative years in a small rural town in Denmark. Hassan was kicked out of art school for disruptive behavior in music class, and then consequently became addicted to MTV whilst he waited an entire year to get another placement. Eventually finding his way to his now adoptive home in Manchester; he discovered hip hop, grime and a supportive musical community – as well as his first recording studio, which was stationed above legendary nightclub Sankey’s in Beehive Mill.
HMD is beautifully representative of the new Mancunian order, where a growing number of young black artists are finding their voices being carried far wider than the limits of the city borders – and slowly dismantling any outdated perceptions of what a Mancunian artist should look and sound like. Latest release Dayz, a tender collaboration with Ruby-Ann Patterson (another artist making a name for herself with hip hop/soul band Family Ranks) feels like a breakthrough moment for both of them . HMD’s sparse but pretty production gives them both the freedom to showcase their rich vocals. Remiscent at times of Sampha, this is raw, emotive and utterly magical. Sometimes all you need is a spark.
Liverpool’s latest success story, Holly Låpsley Fletcher doesn’t really need my love in the way some new artists do. It’s not like she’s an unknown at this point struggling to get heard… having deservedly found her way on to the Radio One playlist in the space of a few short months. What Holly does need though is genuine and continued support, because inevitably the hype will die down and her music will rise above it. Latest release Falling Down is a stunning arrangement, one that breaks my heart with every little nuance and sound… her vocals reaching places others are unable to, the very depths of my soul.
Just over a year ago, I promoted Glasgow’s Holy Esque to a packed Manchester audience… their performance was impassioned, raw and with just enough vulnerability contained in Pat Hyne’s vocal to bring you close to understanding why Holy Esque might just be the real deal. Afterwards my memory is a little scant but a few badly taken photo’s did at least give me some insight into the fun we had. Honestly, never drink with Glaswegians on tour… you WILL end up passed out.
Sovereign marks the beginning of an exciting new direction for Holy Esque, moving from a guitar led sound to a more electronic one. What is exciting is they’ve managed to retain the dark elements from their original material, adding a certain seductive quality within the dense textures. Hyne’s voice is again the focal point, his delivery a masterclass in holding your attention… leading you towards that climatic and devastating conclusion.
Dark to the point of being genuinely disturbing, the crushingly bleak witch beats of DMR aka Daria Ramone seep silkily into your soul, extracting all colour until all that remains is a strobing montage of monochrome ghostly detritus. Debut long-player The Falling Body follows on from a string of excellent EP’s which themselves are well worth exploring; this time out however something feels more taut, more focused.
There’s a sumptuous weighty density to Eleven, cold slow beats striking unholy accord with an articulate mesh of sustained gothic synth sounds. The key choral vocal lines sweeping the track to it’s all-too-soon denouement are devastatingly spooky – like the more melodic sections of James Cargill’s Berberian Sound Studio soundtrack turned up a few notches.
You’re not going to find any stock can-tricks here, it’s just pure unadultered sonic malevolence.
Molly Beanland – not a name you’re likely to forget. Her sound is a cross pollination of US and European pop flavours, processed beats, keys and multi-layered vocals. Molly’s influenced by the likes of Kate Bush, as well as contemporary artists such as Lana Del Ray – you can hear it in her lyrics, vocal delivery and the nostalgic, retro-styled production.
With a solid grasp of pop song craft at work throughout, the anthemic Night Dreams sounds like an eighties movie soundtrack, all glitz and glamour, a subtle, slow building verse giving rise to a big, bombastic chorus. Notable for its clever use of mood and dynamics and minor to major key shifts, this track’s like a guilty pleasure – one you’ll revel in. It’s fun and catchy pop of the highest calibre – nothing self-conscious about it. Get ready to bust some moves in front of the mirror.
Today I stumbled across Vierance, a gothic electronic duo from Toronto, consisting of Matthew Cangiano and Kathryn Warner. Its hard when making a discovery like this not to immediately throw in the name Crystal Castles, as they share both the same city and the same sense of conflict and urgency with each other.
That’s not to say Vierance have nothing distinct about them, far from it… as the sound they have created is more insular, seeped in atmospheric and melodrama. Warner’s vocals are reflective, almost desperate and undeniable beautiful.
I’ve been ruminating for a while now about new Manchester producer Oceaán who has been receiving pretty heavy rotation across the blogosphere. Perhaps I’ve been trying too hard to resist?
The swoonsome RnB production in Neéd U is good, really good infact. Oceaán is the light to Holy Other’s dark. With repeated listens it cuts deep into your soul, fills you with optimism and love.
Am I keen on the anonymity? It’s an interesting approach, mythology can be far more exciting than reality, especially in a time when we’re constantly battered with information. Manchester has a rich modern history from Wu Lyf to my own band Stay+. Oceaán’s debut video only fuels the fire… but its an exciting journey and I’m glad we’re on it with him.
From Polish electronic label Osterdam Records comes DreamChach – better known as Tomasz Moskwa, a live electronic solo artist gradually crossing language barriers across the blogging community.
Moskwa creates a musical array of electric, robotic, vintage computerised sound, a mesh of blips and effects, melodic euro-pop synths underlaid by DJ club beats. These are aural throwbacks to the Nineties dance scene. His uplifting single ‘Night Beats’ would sound as good through headphones as it would as a clubbing tune.
The distinct vocal of Alice Fox is one that should be recognisable to many in Manchester, and without delving too much into our history, Avec Sans are a band very close to my heart. Our loss however was London’s gain, and this electronic duo have quickly built a reputation for producing effortlessly cool pop music that is not only accessible but beyond fucking brilliant.
So, its fair to say I was pretty damn excited to finally see the debut video for Hold On, directed by Sing J Lee, who has previously worked with my beloved PINS. Imagine The Postal Service meets Chvrches and you might be getting close to understanding just how good Avec Sans are… its timeless and classic, and as easy to dance to as it is to fall in love with.
“On the outskirts of a nuclear war torn city lies RFP. A place where the sounds, soul and trash of a bygone electronic era come to dance the night away. Welcome to the future…” – The Red Falcon Projects
Which somehow sums things up quite meticulously. The reissue of this Portland duo’s Microtonal Acid Dub is itself a strange recreation of a bygone electronic era, albeit one which occurred only two years ago. Remastered from the last remaining tape of what was a criminally limited-edition cassette-only release, pleasing analogue movements sit atop a canvas kissed with the ghostly lips of warm hiss, and will feel eerily familiar to those still understandably smitten with Aphex Twin’s “Selected Ambient Works”.
Despite the minimalist arrangements, the deep and dark kick drum, the knowingly persistent squelch of 303, be under no illusions: this is by no means an empty homage to the all-time granddaddy of ambient acid. This is a different environment, a different time. Any trace of bleary-eyed rave nostalgia is carefully obliterated by persistently hypnotic wordless depictions of a dystopian landscape scarred by it’s own old malevolence.
And if this wonderful discovery alone provides not enough tonal nourishment for ravenous ears, next month we are to be endowed with another full-length, “Simply Ravishing” via Dilated Time Records. Don’t know about you, but I can’t wait.