All you need for the weekend is “Caprisun”, an infectious lo-fi gem from a quirky Norwegian duo FLTY BRGR GRL. Comprised of Beatrix on vocals/bass and Sarah on guitar/backing vocals, they definitely know their way around sweet garage pop music.
The song’s instrumentation is straightforward, with a steady drumbeat, jangly guitar riffs, and a memorable hook. It’s a cute track that you can sing along to after just one listen, and if those facts are not enough for you to get on it right away — it comes with an adorable early 90s home video featuring kittens!
Italian-born (and London-based) multidisciplinary artist heka releases a new single “april (away)”, which is the first one for her new label Practise Music.
The song begins with a haunting guitar melody that sets a melancholic tone. Heka’s vocals are soft and ethereal, almost whisper-like, as she sings the opening lines: “Spit the millionth reason / in spite of what you say / April’s foolish every day”. The lyrics evoke a sense of longing and a desire to escape from reality, somewhere in the hiding place.
As the track progresses, more tension arises, forming a beautiful and haunting piece that showcases heka’s talent for creating immersive and emotional soundscapes.
Having released their impressive debut Embrace in 2020, it looks like French trio Keep Dancing Inc returns back, now signed to V2 Records.
The group shared a brand new single “Radio”, an incredibly catchy introduction to what will come next. Probably it is their best one yet, with the band’s signature synth pop sound on full display, and electronic melodies upbeat and irresistible.
There is no news on the new album, but the song is released together with the beautiful performance music video, directed by Thomas Granet Tegler.
On June 9 London industrial post-punks Bo Gritz will release Chroma, their highly-anticipated debut LP (via Glasshouse Records).
The latest teaser from it (after “Observes and Selects” and “Stored In The Sky”) is an album opener “RUT”, a visceral in-your-face cut that perfectly sets the tone. It is unveiled alongside the experimental accompanying video, created by Gareth Thomas.
Speaking about the track, bassist Benjamin Salt says: “When we all sat around and listened back to the album tracks this was the unanimous choice to be track one, mainly because of the way it just explodes out the speakers. It just stomps really, a sonic battering ram, but I really like how the second half of the song morphs into an almost krautrock, motorik rhythm. You can really just lose yourself in it. Special mention to Nathan Ridley and Max for the production, they both did stellar work and got the track sounding huge. That first minute or two really sets the tone for the rest of the album”.
Combining both great talent and unique charm, Oliver Marson is one of the most exciting newcomers we heard about recently. A true new wave mastermind, he has a knack for creating synth pop bangers with his own signature style.
His new cut “Tokyo” is a great example of that, an escapist anthem where he fantasises about Japan’s capital that he never visited and probably never will. The music itself is equally compelling, with its driving beat and shimmering synths creating a sense of urgency and excitement.
The track was self-produced by Marson himself, and mixed by Jorge Elbrecht (Japanese Breakfast, Hatchie). It also has Charles Cave (White Lies) on bass, and Maya Harrison (For Breakfast) on vocals. The release comes ahead of notable support slots for Tempers and Moreish Idols.