Who? GHLOW
What? ‘Hollow’
Where? Stockholm
What they say? The Stockholm based Swedish/Russian experimental duo GHLOW is the latest signing to the Swedish label PNKSLM Recordings. The project of multi-instrumentalists Emille de Blanche and Nikolay Evdokimov, GHLOW came together to soundtrack a film before evolving into a fully fledged band, merging electronica with live instruments, arriving at a haunting and energetic electronic punk/alternative rock style that sounds like nothing else out there.
Why we love it? Visceral guitars and a furious beat it burrows through the bowels of the city like one of those monsters from Stranger things, Emille de Blanche’s menacing vocals squawks are leading the charge to the end of the night. Abrasive, brutal and yet hypnotic, ‘Hollow’ is searching and destroying everything in its path. (BC)
FFO: The Kills, Lusts, Suicide, Yeah Yeah Yeahs
Who? KOKOKO
What? ‘Buka Dansa’
Where? Kinshasa
What they say? KOKOKO! represent the antithesis of tradition, and their debut album Fongola – which translates to “the key”. Discussing ‘Buka Dansa’, the group offered the following; “’Buka Dansa’ means ‘dance till it breaks’, or ‘break the dance’ and Dido sings the song on a synthetic rhythm, where the riff from a self-made guitar moves with the melodies. The lyrics are psychedelic, and remember what’s good in life – putting that feeling parallel with a nice taste passing into your throat, like smoke, a digestion of good moments.”
Why we love it? Blurring all of the lines between African rhythms, punk, dancefloor beats and tribal chant, Kokoko produce a joyous communal experience. Their music offers “a torrid, anarchic, youthful journey smashing a new path through modern life in Africa’s third most populous city.” (BC)
FFO: Fela Kuti, LCD Soundsystem, Ibio Sound Machine
Who? Outer Spaces
What? ‘Album for Ghosts’
Where? Baltimore
What they say? On ‘Album for Ghosts’ Satalino reflects on a “period where I was obsessed with finding music from the past that has a cult following now, but never really ‘caught on’ at the time it was released, either because it was ahead of its time or simply because no one had really heard it. I was thinking of the music industry today and how it’s basically flooded with musical content. And how with a changing world (climate change, etc.), we might not be in a position to be searching the archives of Bandcamp for musical relics in 50+ years. In the end it was like ‘You’re going to do this anyway, despite the outcome.’”
Why we love it? Outer Spaces is the project of singer/songwriter Cara Beth Satalino. Her new single begins with a charming intimacy this tune unfurls into a jangling gem. It’s about finding unappreciated diamonds amongst the deluge of music online, discovering a personal soundtrack of your own. It’s laced with a craft, vivid lyricism and bittersweet melodies that characterises Outer Spaces’ attention to the intricate details of songwriting. Hugely impressive. (BC)
FFO: Big Thief, REM, Angel Olsen
Who? Gintis
What? ‘Four Movements’
Where? Liverpool
What they say? Carl Roberts said of the tracks: “It’s me channeling a sea captain who retired to work as a security guard, thinking back on a night shift with only his memories and keyboard. Either that or a doomed fantasy of Brian Wilson growing up in Rhyl.”
Why we love it? Wistful and tuneful. Gintis deliver a lovelorn slice of string-tinged psych pop, laced with laments. It’s ripe with gorgeous, wistful harmonies that peer out to sea and reminsice, and a playfulness that harks back to the work of Gorky’s Zygotic Mynci. Wonderful. (BC)
FFO: Gorkys, Sweet Baboo, The Beach Boys
Who? Spike Fuck
What? ‘Junkie Logic’
Where? Melbourne
What they say? “I wanted to pair the embarrassingly honest and admittedly (at times) depressingly ordinary lyrical content with this over-the-top and self-obsessed clip. It shows the ugliness of self-centeredness – the absurdity of believing that we and we alone are playing the starring role in this reality, and that the world is simply there to help build our story arc.”
Why we love it? Honest and unvarnished, ‘Junkie Logic’ details its writers’ problems with drug abuse through the odd, yet apt lens of glistening, 80s power-balladry/loner-rock that patrols the darkest of tunnels, forever seeking the light at the end. (NK)
FFO: Johnny Thunders, The Triffids, Alex Cameron
Who? MOHIT
What? ‘Yoghurt’
Where? East London
What they say? Speaking about the influences behind the song the band said: “Yoghurt is the seed that began the sonic journey that led to the sound and shape of MOHIT. It was the first recorded song, the very spark. Many of the avenues explored in other songs are present in this piece; the use of loops, beat-lead sections, evocative harmonies and sonic landscapes, stretching to the most intense moments. The process of making the song conduced each member’s connected input and their sensitivities to it, resulting in a path through unfamiliar grounds for the listener to navigate”.
Why we love it? A dizzying ramshackle of wriggling, art rock guitars, scattergun drums and swooning vocal harmonies that takes you on a journey across the earth and back in time for tea. Epic and progressive stuff. (NK)
FFO: Ought, Radiohead, Preoccupations
Who? Cross Record
What? ‘PYSOL My Castle’
Where? ‘Texas’
What they say? ‘PYSOL My Castle’ is immediate proof of Cross’s introspection. Inspired by a visit to an overstimulating Mexican street market, the track describes her search for an unencumbered mind space: “Walking through the plaza in a dream // All these people reaching out // touching me. I cannot take what you are giving // You cannot break the bubble I’m living in.”
Why we love it? Haunting and transendental. Subtle instrumental textures ripple beaneath like the water lapping at your feet. With transfixing vocals Cross Record weaves a spell that captures a moment in time, trapped in your own mind, wanting to switch off the world around you. Utterly entrancing. (BC)
FFO: Low, Grouper and Julianna Barwick, Cocteau Twins
