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inside outside upside downside EP. Objects in Motion
Yes, it is still possible to present a new band from Boston. Today it is the trio Objects In Motion, Dan Angolano, Michael Lantow and Vinda Souza. Together they have released their debut EP which contains a dreamy kind of indie that sounds extremely pleasing. Vinda Souza's voice has a specific kind of depth that may not appeal to everyone. As I've found, she sings in a way that both seems to be as if she is far away in her mind, while able to accuse the listener for moving off to too far of places with her. Remain alert!, she seems to signal and let me do the dreaming for you. Musically, Objects In Motion has a strong connection to music from the past. The first part of the 1980s is an influence. The band left out the darkness and doom, making a connection to a band like Belle and Sebastian from Glasgow. The guitars have a lighter touch, the keyboards are organic and not deep synth sounds. The contrast with Souza's voice stands out more because of it. The combination makes inside outside upside downside a more than just interesting introduction to Objects In Motion. The EP makes me want to hear more soon.
Although I've called Natalie Miller a pop singer in the past, in her new single 'you're in my bed' she strays a stage further. She starts with just an acoustic guitar playing the same riff a few times and her voice coming in over the riff. All very innocent in sound. In the second part of the verse the band comes in, shoring up the sound. And then it happens. In the part where the intro is repeated an electric guitar joins in with a dirty sound. Mixed into the background, as if it was played softly. My guess is, it wasn't. It makes 'you're in my bed' a richer song. Together with producer Brian Charles NYC artist Nathalie Miller has made her song a rich sonic experience encompassing far more than the standard drums-bass-guitar set up. Again, Nathalie Miller captured my attention with ease. Not much longer before her album 'I’d like to think you saved me' sees the light of day.
In April My Purse released its debut single 'I Smell'. Not only because of the title of the song I compared the band to Tramhaus ('I Don't Sweat'). Let's leave it at that. My Purse plays postpunk like many bands do over here. Inspired by the early 1980s and Franz Ferdinand, the combination of quirky notes and a superb melody is what trumps the current bands over the likes of Gang of Four and Comsat Angels as far as I'm concerned. The Hole is a song that is elementary in sound. The instruments are well compartmentalised, the vocals strict and divided between female and male. The strictness is loosened because there are some great guitar part overdubs. And note the cowbell all through the song. At heart My Purse is a trio, Una Jongenelis, Keetje Voogd and Igor Jongenelis. Those really paying attention to this blog, will have recognised the name Una Jongenelis, as she had a spot on the blog only one week ago under the name I Am Bird. With My Purse she is on an interesting course as well, because The Hole is a very promising single.
Isaac Roux' new album ' Lost And Found' was released a week ago. As it is impossible to review all albums I receive and that is a euphemism of rather large proportions, allow me to put my attention on his latest single, Good Times. Again, it is an alternative poprock song. It has pace, energy and rhythm. Although Good Times does not contain an inch of danger in it, for that it has been smoothed over totally, it does have an instant pleasing factor. The sound is like a wall. All is mix in such a way that there is no hole anywhere to be found in the song. (The break sequence apart.) Singer Louis de Roo's voice is pleasant to hear and carries the song with ease. The band paves things over for him, resulting in a song that is instantly noticeable.
With Bittersweet Tony Marsico and band kick the door right in with the intro solo to the song. Bang, here it is and you better start paying attention. I did and was captivated from there onwards. No, there's nothing new to hear here. Even the final chord is 100% The Beatles of the early 1960s. The jangly 12 string brings back memories of a host of songs from circa 1965 when the Rickenbacker became the instrument to play. Tony Marsico has managed to write a song that fits in nicely what came before and stands it own in 2026. This band calls itself The Ugly Thingz. They may well be, the music sure is not. Bittersweet has an urgency about it that will make you want to play it again and again.
Welcome to a new name on the blog. The Summertimes is a band from Australia. The name of the band may be new, the music of choice is not. The Summertimes present five songs that are somewhere in between pop, rock and country. Expect a beautiful combination of Beatles- and Jayhawkesque harmonies with songs that are upbeat, of the kind that make you feel better instantly. On Luminous you find five songs that seem to flow so effortlessly. A warm Hammond, the sound of a 12 string guitar are all in good taste. Nothing is overdone. It just seems perfect. There are dozens of bands like The Summertimes, if not hundreds and yet, this EP manages to stand out effortlessly. The opening song serves best as an example, I'd say. Pop rock does not get much more convincing as 'Save You Now'. The Summertimes do not verge from the pop side like circa 30 years ago someone like Dan Baird did verge with 'I Love You, Period' or a band like The Caulfields did with 'Alex Again'. Both pop songs at heart, but with an edge added. Before you get me wrong, I like all three songs, a lot.
Although 5 March is still months away, Clustersun's single Fire! Fire! Fire! announces its upcoming album 'Anti You'. The track is as urgent as the situation calls for. When there's fire, there's little time to waste if one wants to get away. Clustersun have shifted the gears in 5 right from the start and speed ahead in this rocking psychedelic track. When the song's over there's absolutely no doubt left about how urgent the situation is. When all else fails, I suggest calling the pre-CCR band The Golliwogs to fight fire with fire. The Italian band is on fire itself, as there is nothing able to stop them in this track. A new name to this blog, but I'm already looking forward to hearing more. Give me some 'Anti You' soon, please!
And yet another new name. Star Moles is the moniker of Philadelphia based Emily Moales. She is blessed with a Stevie Nicks kind of voice. The way she uses her voice could lead to a comparison, were it not that Star Moales operates in a far more alternative segment of music. Sure, I can imagine a 'Rhiannon' or 'Sara' sound for Born Again, but there isn't. Star Moles music is far more elementary and not aimed at perfection and sheer beauty. In Born Again space in the music is let in, the musicians play almost hesitatingly. Emily Moales is allowed to shine over the song, as she's absolutely up front of it all. She recently signed a record deal and her album 'Highway To Hell' will be released on 4 December.
And, yes, one more new name. Aderyn is Lisa Martin a.k.a. Cardiff's queen of indie pop. As I've never been there, I'm sure I'm excused here. Victorians is an extremely elementary track. What you will hear, is a drum computer and a primitive sounding keyboard with Lisa Martin singing over it. Add some treated words and atmospheric rhythm and sounds and you have Victorians. As such it reminds me of Carol Cleveland Sings. Victorians shows that it does not take a multi-million dollar production to capture my attention. The music may be clinical, Lisa Martin is able to get her emotion across without hesitation. There's an EP in the works called 'Hot Pink'. We might well keep you posted on it.
Believe it or not, yet another new name to the blog. On Lé Ore is a duo. Musician and singer Jon Moore works here with drummer and producer Travis Harrison (Guided by Voices and Build To Spill). The result is an indie poprock track of the kind that will put a smile on the face of the people who like this kind of music. Expect an upbeat track with a nice intro containing a few nice melodies already slipping into a verse that places accents and short melodies at the right moments on the chord changes. I notice it makes my mind expect and wait for the next one. The song seems so effortless but pay attention and you'll notice how perfectly free-flowing it is, showing how much effort went into finding perfection in the different melodies you can hear going on at the same time. I know nothing else about On Lé Ore but certainly hope to hear more soon.
Wout de Natris - van der Borght
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