Liverpool singer-songwriter ROSENBLUME releases the stirring new single: “Darkness Before the Light”.
WATCH THE VIDEO HERE
His first extended release since his debut EP in 2015, Rosenblume’s first full-length album may have been a long time coming but promises to be every bit worth the wait. With a plaintive, confessional style that will connect deep within and linger on the mind for some time, ‘Rosenblume’ finds the Liverpool songwriter touching on themes of old flames and blossoming romances, sepia-tinted memories and new beginnings.
On his fifth album, Monarchs of the Spukhaus, Reno, Nevada-based popsmith singer-songwriter John Amadon follows up his critically-acclaimed releases, including 2011’s Seven Stars and 2013’s The Bursting Sheaf, with another collection of haunting melodies that make good bedfellows with easy-laid beats. Set for a June 12th release, the album once again finds Amadon enchanting you into his world of pop craft know-how.
A multi-instrumentalist, Monarchs of the Spukhaus was recorded during lockdown, with minimal participation from others. However, longtime collaborators from Seven Stars and The Bursting Sheaf, Scott McPherson (live and session drummer for acts including Beck, Elliott Smith, Neil Finn, M.Ward, She & Him, Bright Eyes, et.al) and William Slater, as well as Paul Brainard (Richmond Fontaine), help bring the album to life. While still in the vein of his previous collection of pop-rock offerings, Monarchs of the Spukhaus finds Amadon stepping out of his comfort zone, recording and mixing his own record for the first time in his career.
“The pandemic forced me to cancel the studio dates I had booked with Chet Lyster (Eels). With no end to the pandemic in sight I ditched my recording plans, built a home studio, and taught myself how to use recording software,” Amadon says of the making of the record. “I learned quickly, and having the studio in the next room allowed me to take all the time I wanted without worrying about studio costs. Without people around I also felt more relaxed and more free to experiment.”
Alicia Stockman is a Utah-based folk-meets-Americana singer-songwriter whose music pulls back the veil to reveal everyday vulnerability. Her songs are written like intimate moments, drawing listeners into a relatable emotional journey.
At a young age, Alicia Stockman began her deep love for music, compelled by the vivid storytelling of powerhouse songwriters including Patty Griffin, Brandi Carlile and Jewel. After performing in a loud rock n’ roll band playing bars with sticky floors and belting out Stevie Wonder tunes, Alicia began writing her own music more seriously. Realizing her new songs didn’t have a place in a loud bar with a party atmosphere, she branched out and started playing more intimate venues, quickly finding her home in the folk and Americana scene. Her whisky-dipped soulful vocals and creative takes on day-to-day realities soon sparked the interest of “Nashville’s Americana Queen” Mary Bragg who began collaborating with Alicia on her new album.
Her upcoming debut 10-track full-length album is entitled These Four Walls and is a collection of “songs to make you feel and feel seen.” The album says, “I see you. I’ve been there. I understand.” Written over a three year period, These Four Walls is a luminous roots release infused with gritty blues rock guitar licks and attention worthy melodies.
The first track on the album, “Stay Between The Lines,” was written during a long drive home from New Mexico and the highway inspired single discusses how we all can sometimes “dance between right and wrong and personal limits and boundaries to keep life interesting.” The reverb drenched guitar and wild west twang make “Stay Between The Lines” an alluring listen.
“Halfway to Houston” is a token break-up song where Alicia recalls a painful memory of lost love. The song is poetic and emotive, laced with soaring vocals and intimate lyrics that express feelings of suffering and melancholia. “I wrote the chorus of this song while hiking a trail network near my house. It was a healthy way to process the end of this relationship while my ex-partner moved out of the house.” “Halfway to Houston” impresses with dreamlike slide guitars and melodies full of bittersweet nostalgia.
In the album’s title track, “These Four Walls,” Alicia hopes to destigmatize the conversation on mental health. She confides, “I wrote ‘These Four Walls’ to help me process a former relationship in which my partner had severe depression/anxiety disorder. This song was my way of unpacking all that and finding a way back to myself.” The song features a stripped-down melody with dreamy, tender lyrics that showcase her vulnerability as an artist.
Recognized for her unique songwriting and performance formula, Alicia has received accolades from several performing songwriter competitions including Songwriter Serenade, Tucson Folk Festival, Suzanne Millsaps Songwriter Competition, and the Wildflower! Arts and Music Festival.
These Four Walls is due for release November 2021, worldwide.
Parisian producer duo Ofenbach joins forces with chart-topper Ella Henderson on their collaborative new single ‘Hurricane’ – released globally today.
Just when you thought summer was over for another year, ‘Hurricane’ comes crashing through as an undeniable smash to cause a storm on the dancefloor and party playlists alike. The track, which features unmistakable vocals from Ella Henderson, bears all the markings of a true Ofenbach classic with the trio creating euphoric dance- pop perfection.
Still in their early 20s, Ofenbach are very much a part of the global dance crossover trend with a sound that takes additional influence from rock, pop and folk. Made up of the stylish Parisian producer duo, César de Rummel & Dorian Lauduique, after more than six years together and a constant string of outstanding releases, they have reached a new level in their career.
Ofenbach explain, “We absolutely adore Ella’s voice and we are thrilled that we finally got to work with her after being a fan of her music for so long. Her vocals are a perfect for ‘Hurricane’ and we can’t wait to perform this song all over the world together.”
Fresh off the release of energising singles “Time for the Future” and “Quicksand” earlier in the year, Canada’s most exciting alt-pop band Fake Shark are back with the quirky, compelling alt-pop of “Loser”, the third single to be taken from their forthcoming new album. Acoustic guitar chords ring out in a see-saw rhythm over tight, punchy drums, driving the song towards the defiant chant of its massive singalong chorus. The song is a timeless anthem for those who sometimes feel like outsiders, and draws influence from 90s and 00’s indie rock whilst remaining refreshingly contemporary. Lead singer Kevvy explains: “Loser is a song written from the perspective of
someone who’s just addicted to making life-destroying choices and they’re envious of people with self-control. The video was conceptualized by the brilliant director Sterling Larose, who’s done hit videos for Mother Mother and Son Real, and it’s about leaning into your problems and owning them and becoming famous for them.”
Alt/rock duo – PAVE THE JUNGLE – are back with the punch-packing new single: “Oddball”.
LISTEN ON ALL SERVICES HERE
A pinballing, ear-piercing, anti-anthem, the track paves the way for a brand new EP: ‘Waiting for Nothing’, which is slated for release on Cow House on 26th November 2021.
Flying the flag for anyone who’s ever felt they never quite fitted the mould, “Oddball” is for the perennial outsiders, the disconnected and the lost in society. A track that traces Rachael’s own twisting journey of self-discovery through her formative years, it sees her chew up that old adage that “the grass is always greener” and regurgitate its words with acidic contortion.
As Rachael says:
“”Oddball” laments stagnation. More directly, it describes a love/hate relationship between an individual and a place. It’s a song for anyone who’s ever felt stuck in their tracks. As though their course in life is out of their control. It’s a product of restless years in my early 20’s flitting between numerous cities – yet failing to truly fit anywhere. Feeling like an Oddball and learning to live with, embrace and ultimately harness that.”
Manchester outfit Sea Fever share ‘Afterthought’, the latest single to be taken from the band’s upcoming debut album ‘Folding Lines’ set for release on October 22nd, with its vinyl release following on October 29th. Stream//buy ‘Afterthought’ here – Pre-order the album ‘Folding Lines’ here.
The band announced a series of live shows to celebrate the album release, kicking off with a special album launch at Manchester’s Night & Day on october 22nd, before headlining Stereo in Glasgow and heading to London for an exclusive live in-store performance at Rough Trade East on Oct 29. Tickets available here.
‘Afterthought’ follows previous singles including; driving indie electronic cut ‘De Facto’ , the title track ‘Folding Lines’ – Listen to ‘Folding Lines’ here – and ‘Crossed Wires’, released alongside its dystopian video – watch here – and gives another taste of the band’s upcoming debut album.
Ragnar Ægir is an Icelandic songwriter who uses creative outlets to keep his body and mind at peace, maybe inspiring one or two people along the way. Celebrating 200k Spotify streams for his first 3 singles, the Icelandic cinematic pop maestro is unveiling the “I’m At Home” Remixes EP featuring remixes by Azure Blue, Harald Björk & Philipp Krätzer.
Teaming up with Stockholm based Azure Blue, perhaps one of Sweden’s most prolific and talented indie pop musicians, his refined synth pop-driven music has over 5 million streams, including different collaborations within the Nordic indie-pop community. With a shared passion for audio production, vintage synths and piano sample libraries, the pair discussed a remix for Ragnar’s single “I’m At Home”. Blue created an 80’s electro vibe with his remix, with bursts of oscillating synths and a power surge of drums, the track has a nostalgic filter over the original single, accompanied by touches of haunting backing cries laced in a holy feel.
Stockholm based artist Harald Björk also entered the fold, known for his emotional form of melodic minimal techno with a melancholic Scandinavian touch.
Björk took to Techno; having a similar connection of the 80’s/90’s through the underground nightlife, he sculpted his version. With smooth synths and a profound kick beat, the track builds gradually leading into a drop with a huge electro-horn sound posing as a bass. This track switches up the structure more than Azure Blue’s keeping the sensibilities of the original.
Finally Ragnar reached out to long time friend Philipp Krätzer, who produced and mixed the original version of “I’m At Home”. The Rostock based producer and multi-instrumentalist blends sample drums, live instruments and heartfelt melodies, making waves with plans to charge onto the chill music scene with his 2021 releases. Krätzer’s remix is described best by Ragnar as “an incredible mashup of perfectly executed quartet strings, chill trip-hop beat and the core melodic elements of the original track”. Featuring muffled vocals and a lo-fi element, the remix is doused in angelic orchestral sections, with the affecting production mirroring the stunning landscape of Ragnar’s homeland.
Ragnar shares, “Overall, the whole project from the original release and its music video; to all the remixes, have been a blast. Working with a really diverse team of expert musicians has been such a joyful experience in all aspects, and it’s been great watching all the parts fall into place. I am super thankful for their friendship and trust enabling us to work together.”
With hundreds of thousands of streams for his music to date, an ever-growing fanbase, as well as recognition from publications around the world, Ragnar Ægir is quickly becoming an artist to watch. “I’m At Home” is the title-track off of the forthcoming debut EP, which will be released on Raun Music at the end of 2021.
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