Idea For A Film - Can't Sit Still

Music is defined by trends. Trends in sound, trends in fashion, trends in instrumentation. But recently it has become more and more defined by one trend in particular: promotion. It's a subject I touched upon at the start of the year, and you only have to take the example of 2014's breakthrough act Jungle, whose idea of self-promotion was, well, to do no promotion at all. They stayed out of the spotlight and almost nothing was known of the band who would go on to release a Mercury-nominated top 10 album in July.

Perhaps Jungle have started the latest trend in music. Idea For A Film give very little away about themselves through their website and Bandcamp page, other than their Manchester roots and the fact that they make music in a 'dingy, disused Victorian mill; there is no heating, no ventilation, and the tap water has a murky greenish tinge to it.' There is something strangely alluring about knowing so little about a group, particularly when an introductory email from one member of the band simply states that they want to 'recommend something new to you'!

But anyway, on to the music. 'Can't Sit Still' is the only glimpse of music we have so far from Idea For A Film, and it's absolutely remarkable. The song has a certain ghost-like quality to it, with its shimmering guitars, spooky vocals and haunting soundscapes. It's magical stuff from the first second, with a lengthy instrumental intro soon giving away to the manipulated vocals and cryptic lyrics that speak of 'gasping for air' before asking the listener 'Do you really know what you want?' The cacophony of noise that precedes the piano-led outro only adds to the unsettling atmosphere that has been so stunningly put together here.

Idea For A Film have managed to carve out a truly unique sound of their own in 4 and a half minutes of ethereal, blissed-out brilliance. In one more little quirk, it will cost you a cool £1,000 to purchase it from Bandcamp. But fear not, for you can stream it for free below.

Lapsley - Falling Short

Lapsley is an artist we first featured upon the release of her exceptional debut single 'Station', and a couple of days ago the Liverpudlian returned with her latest offering: 'Falling Short'.

A more piano-led slice of ambient loveliness than the likes of 'Station' and 'Painter', 'Falling Short' nevertheless maintains some of Holly Fletcher's distinctive trademarks - namely the wondrous vocals, pitch-distorted vocals and catchy melodies. It's yet another strong showing from an artist who keeps getting better and better, something which is evidenced in electronic goddess Annie Mac electing to release it on her latest '...Presents' compilation.

Just 18-years old yet already boasting a back catalogue that songwriters twice her age would be proud of, we can only implore you once again to check out the dreamy delights of Lapsley.

Gengahr - Powder

Seems like formerly-blissed-out Londoners Gengahr have added some serious punch to their sound in the time that I've been away. Their debut 'Demo EP', released in the early stages of 2014, was a delightfully woozy affair with menacingly dark, psychedelic undertones. With lazy, swaggering vocals and understated guitar hooks adding to the lo-fi sound, it was a devilishly addictive listen.

Now, they have returned with their first single 'proper': 'Powder'. Though it kicks off in similar fashion to their recorded output - those trademark scruffy vocals coupled with a low-key production - it soon transforms into a different beast altogether. Grungy 90s guitar hooks eventually overcome and dominate the song as it reaches it's thrilling conclusion, the ante slowly ramped up and up as those vocals remain: the melodic calm amidst the ever-growing storm.

'Powder' is a slow-burning rocker boasting a delicious melody and some truly virtuoso lead guitar work. An exciting new tune from one of my new favourite bands - soon they'll be your favourites, too.

Album of the Week #25: Gramatik

Artist: Gramatik
Album: Beatz & Pieces Vol. 1
Year: 2011
Label: Pretty Lights Music

Gramatik's sample-laden music has been a guaranteed party starter for six years now, but the 2011 record Beatz & Pieces Vol. 1 is surely the pinnacle of his impressive discography.

Melding elements of funk, jazz, hip-hop into a cohesive body of work, Gramatik's instrumental music is DJ Shadow-esque in its execution and J Dilla-esque in its imagination. Though musically it is influenced by the likes of jazz and funk, in truth the samples called upon are from even further reaching corners of the globe and across huge swathes of time. A quick glance at his WhoSampled page reveals the above to be true - there are pinches of swing, soul, rock 'n' roll and more that are chopped, sliced and distorted before being thrown into this bubbling melting pot of styles and genres. It all makes for an intricately constructed set of songs from an artist who clearly has a rich and varied taste in music, but importantly Gramatik's talent is such that it all comes together to form a unique record that's great fun to listen to.

Repeated vocal hooks, scratchy funk samples and hip-hop drum beats tend to be the cornerstones of Beatz and Pieces, something which is evident as soon as the beat to album opener 'DreamBIG' kicks in. 'So Much For Love' is a joyful clash of sampled vocals and piano riffs that creates a dancefloor-filler that you won't find populating the airwaves of Radio One. The tracks here are wearing darkened shades, bopping their heads and smoking cigars whilst you long to be as fucking cool as them.

Gramatik expands upon his sound a little with the likes of 'Good Evening Mr. Hitchcock' and 'The Drink Is Called Rakja'. The former throws in sweeping strings and flickering keys for a lush body of orchestral sound, whilst the latter's electro-swing sound is the most frenetic affair on the record. Both are heavily-layered, masterfully-crafted bodies of work, which is symbolic of the whole album. Yet when Gramatik strips it back to the bare bones - if you could call it that - in 'Like You Do', the result is an effortlessly hip slice of instrumental funk-hop that is the standout moment of the record. Considering the competition it has, that's some achievement in this myriad of party-starting tracks that are, well, just. so. bloody. good.



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Album of the Week #24

Artist: Emma Ruth Rundle
Album: Some Heavy Ocean
Year: 2014

After leaving a tantalising glimpse of Emma Ruth Rundle's spectacular talents in last week's Midweek Mixtape, it's probably only fair that her stunning debut album comes under the one album a week-shaped spotlight today. Rundle has concocted a dreamy world of sounds in Some Heavy Ocean, taking the listener on an immersive journey through her folk-tinged set of psychedelic numbers. Recalling the spirit and sound of hometown L.A. and throwing in her own pop sensibilities to create a unique sound, it is a beguiling listen that sweeps and soars its way through 10 songs of pure beauty.

Although there are hints of 60s psychedelia, 70s folk and pop, it is the menacing atmosphere running through this work that sets it apart from its contemporaries. 'Haunted Houses' is atypical of the album as a whole, with its soft acoustic plucking the backbone behind sweeping strings and Rundle's haunting voice, which is honest, heartfelt and often seems to plead with the listener to join her on this journey - rather like fellow American Lana Del Rey.

'Arms I Know So Well' is the obvious entry point into the album and the perfect example of Rundle's eye for a pop melody underpinning the sea of ambient sounds that it accompanies. It reaches its glorious crescendo amidst barely-audible vocals and increasingly frantic guitar strumming, offering the perfect centrepoint of an album which is built around this song.

The reverb-heavy 'Living With The Black Dog', and is the furthest point at which Rundle extends her psychedelic tendencies, making it a compelling album closer that recalls female doom-pop merchant Anna Calvi and even Stevie Nicks' solo output. It may seem hyperbolic to compare 'Some Heavy Ocean' to such artists, but it is a fully deserved praise of an album that never fails to delight.