BRUTISH C POWERS

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The temptation to plump for a British Sea Powers headline pun was too hard to resist. I am but a flawed individual, forgive me.

C Powers is also known as CC Powers and is quite possibly releasing stuff under a plethora of pseudonyms for all I know, but in an age of meta-nom-de-plumes, who cares?

Anyway, Shit Remix is, indeed, a remix of Shit by Future, and is so overwhelmingly more fun than the original, there’s no need to listen to it any more, should you have been inclined.

It’s also a reminder of the power of simplicity: this remix doesn’t add or remove much at all: C Powers just sticks in the bits that always needed to be there.

ATTIC SPACE: ATIC ATAC

attic space

Here are the tags that accompany Attic Space‘s music:

ambient chillwave christian drone electronic experimental Millersville

Thought: Maybe Ambient Christian Chillwave is a sub-genre I can fully buy into, for once.

Anyway. Attic Space‘s music is right up my street, as it’s pieced together out of nibbles of this, kibbles of that, and big swathes of the other.


My main attraction to this kind of music is that it’s usually the vision of a solo performer: this doesn’t mean it’s automatically any good, but it does mean that the music is unsullied by outsiders, or surly drummers, or what-have-you.

Spring Tides is, however, very good: Attic Space has assembled a true collage of lo-fi sounds and made a song of quiet, odd beauty.

Most lo-fi anything is tripe; this is good, simply because I get the feeling it’s lo-fi out of necessity, as opposed to some dreary attempt at nostalgist revivalism.

So when the drums sound a bit like a cardboard box being hit by a wooden spoon – it really probably was exactly that, and was done so because there were no actual drums to hand. I like that a lot.

PS: For those of you who didn’t get the Atic Atac reference

KRISTA PAPISTA: THEY DON’T MAKE ‘EM LIKE THEY USED TO

kristapapista

There’s something about Krista Papista’s rough ‘n’ ready, cut ‘n’ paste, chop ‘n’ change pop that is deeply satisfying, deeply jarring and deeply un-now.

By being all those things, Bad F is also 100% now. And yet it sounds like daring music of the past. Argh.

There’s something in the attitude, the delivery, the lyrics and the snarl that bypasses the tedium of Tumblr-first Image-House™ music and drags her songs straight up to the edge.

It’s so odd to hear something even slightly out of step with the banality of most new ‘edgy’ music, that this song made me sit up in my seat. Good stuff.

I ALMOST KILLED ANBAD, BUT THEN DIDN’T

graveanbad

You’ve possibly noticed that I don’t blog every day any more. (The smart-arses amongst you will note that I never have done.)

It’s not the end, merely a lobotomy. Here’s why: terelinck.com/why-i-almost-killed-my-music-blog

There will still be new bands on here. Just not as many. But that’s the point :)

Here’s to the next six years of ANBAD!

Abraços, Joe x

ILL

ill

Well, this is like being punched in the face by brilliantly carefree fury. Smart, fun and more interesting than a million bands with a “∆” in their name.

 

SLEAFORD MODS; I DON’T CARE THAT THEY’RE NOT ‘NEW’ AND THAT I’VE MISSED THE BOAT A BIT: THEY’RE AMAZING

sleafordmods

Sleaford Mods are simply the best band in the UK at the moment, in my extremely humble opinion.

“Big up the riots!”

They’ve been around for a while, and I missed the boat, although I remember hearing one of their songs last year about austerity and loved it, and then somehow forgot about it.

It’s hard for me not to wax lyrical too much about this band. Everything is wonderful: the basic loops of sound, the angry, vicious lupine-howl #issues - but actually, it’s hard to look past the astonishing delivery of frontman Jason Williamson.


 

He’s brilliant. Just watch this video of them gigging on the street outside Rough Trade. He starts by getting into a fight with a weirdo, shouting “Come on then!” as he’s led away, and then doing the most electrifyingly spasmodic performance you could imagine.

Really, when was the last time you saw a band as believable as this?

CALUMMA AMBER; VOWELS AND CONSONANTS

 

Calumma Amber (2)

Well, what are your initial reactions to a song titled Lielielielielielielielow?

Mine – which were, “hmm, this is probably going to be either heinous or excellent” – were compounded by the first few, odd, ephemeral bars.

And then it became clear that Calumma Amber‘s song met the latter expectation.

Lielielielielielielielow is the kind of song Kate Bush has been making at home for the last twenty years, but has never dared release. It’s almost all vowels, with no clear lyrical points of reference to cling onto.

Instead, much like David Lynch’s Mulholland Drive, we’re subtly encouraged to look beyond prosaic things like words and notes, and to connect to something much less tangible: feelings, emotions and the base meaning of sound itself.

Whoah. But it’s really brilliant and dashing. Trust me.

POPOBAWA: NO PHOTO, NO NAMES, NO FAIR

pobawa

Popobawa are one of those pleasing bands that tick every box that make me not want to feature them, and yet, well, here they are, slopped all over ANBAD.

Here’s why they shouldn’t be here:

Popobawa say they make psychedelic rock (anti-tick), didn’t put a link to their music in their email (anti-tick) and when I did find a song online, it is listed as a demo (anti-tick).

And yet… to my ears, Appetite is neither psyche-rock, or a demo: it’s in fact a kind of pretty, sunny, blissed-out guitar pop that has a couple of neat, slo-mo hooks. The song doesn’t seem to take itself too seriously either, which is such a rarity nowadays I actually cracked a tiny, painful grin.

Oh, and the song isn’t really a demo – it is well produced, and good enough for ‘release’, if people actually release songs any more (they don’t).

The band are from Gosport, which I always thought was in Wales. It’s not.

Popobawa didn’t send any photos of themselves either, but a little Googling reveals that they are merely normal human beings which look like you and I. Excellent news. Good stuff.

Lärkträdet: not Lark Rising

larktradetGo on, guess what Lärkträdet means.

It kept me puzzled for a few enjoyable minutes, simply because I subscribe to the theory that Scandinavian languages sound a bit like someone speaking English in a very strong wind, and that if you tune out of the listening process, translation is instinctive.

I was wrong. I went for “Lark Rising” because of the word ‘lärk’, and the fact that ‘trädet’ might have some root connection to ‘trajectory’.

 

It doesn’t. Lärkträdet means Larch Tree, which is, frankly, just as nice, so I’m happy to be wrong.

Lärkträdet (the band) are Icelandic/Swedish, and sing the above song called Fristad (which means ‘sanctuary’, translation fans). It’s deeply lovely: a frosty-sunrise of a song that signals happiness, holism and deep calm.

I listened to it three times in a row. I don’t do anything three times in a row. This is a good song.

PS: Lark Rising has not been used as a band name, yet.

DREAM LOVERS’ BRASIL [INSERT WEAK JOKE ABOUT 'BALL SKILLS HERE']

A remarkably brief post today, because I’m still coming to terms with the actual madness that was the stag-do I went on in Ibiza last week, and because I don’t have a huge amount of info about today’s remarkable new song/band/video.

Dream Lovers are a mysterious side project of a couple of bands I love, and as I’m uncertain if I am allowed to reveal who is behind it, I’ll keep mum and simply fuel the mystery.

Anyway – everyone knows all World Cup songs are rubbish, barring World In Motion, but the above video bucks the trend.

It is an instrumental, language-barrier-straddling song that is vaguely Brazilian, vaguely dreamy and totally brilliant.

The video shows a man standing on a wall by the Sacre Cour, overlooking Paris, juggling a football in a remarkable display of remarkableness. It suits the song perfectly, and this is also remarkable. Lap it up.