New music from April brought us an amazing range of perfected records in their own sub-genre. We’ve picked our five favourite records from April (listed in no particular order).
Ryley Walker – Course In Fable
Everything that music is (implicitly and explicitly), is contained within these forty-minutes of Course In Fable. The simplicity of some layers compliment the guitars ‘weaving’ composition; elements of predictability are fulfilled, but turns sometimes override this; and instrumentation and lyricism are beautifully intertwined to exaggerate feelings and meanings simultaneously. The list is almost endless, but for an alt-folk album, perfection is the most powerful adjective for this album.
Phoebe Green – IDK
Since the release of her debut album, 02:00 AM in 2016, Phoebe Green has slowly altered her indie-rock/singer-songwriter fusion into a style where drum machines and synthesisers take precedence. As much as Pheobe Green’s sound has changed from her debut album, her faultless song writing ability has remained intact, being strengthened by a rawer timbre of synthetic chords and electronic drums, coming to the core of Green’s style since the release of her (appropriately titled) single Reinvent in 2020.
Martha Hill – Change
Alt-pop at its finest; compiling lo-fi, bedroom pop and indie-groove is not something that is unfamiliar, but Martha Hill’s execution is flawless. Defined sections of Change initially distinguish these sub-genres, but this record must be consumed as a whole – with attention paid to its title. Sudden changes are not totally random – they appear, they sit-back, they reappear, and then they are concluded in their own context – structure and lyricism run parallel.
Automotion – View From The Precipice
A band that we will soon be seeing dominating the underground/post-punk venues in London, Automotion and their second single View From The Precipice evoke a looming sense of dread, creeping to the ‘precipice’ of this track. Voids of space (particularly in the bass and drum tracks) put this song on a cliff-edge, just waiting to be tipped over by the bridge. The perfection of View From The Precipice stems from Automotion’s electric guitar tones, as well as spoken-word lyrics, being another enforcing factor of the dread looming, both influencing the song to a relatively greater extent. However, these unsettling tones foreshadow the lack of conclusion, making this record perfect in the art of trickery as well as composition.
The Lemon Twig’s British competition, Buzzard Buzzard Buzzard, compose on the happier-side of classic-rock. Their latest single New Age Millennial Magic is silky in its layering, flow and lyricism. With ‘eccentricism’ being at the core of Buzzard Buzzard Buzzard’s image, New Age Millennial Magic lies at the core of their intertwined visuals and sonics. Their latest single (like all previous releases) dresses up the Cardiff-quartet’s style with guitar and synth tones that perfectly blend from individual simplicity, to multi-track complexity, along with Tom Rees’ vocals, emulating (and most importantly modernising) a classic-70s timbre.
Listen to our New Music (April) playlist here.