The deeply emotive truths that pour from the lyrics of Southend based artist Amy Glover are truly something to behold. To see those truths falling from her lips in a live setting with her band Yes Today was both a beautiful and moving experience. Glover actually only started writing songs around a year ago, not that you would ever realise it from her arrangements, which are dazzling in their inventiveness and held together by a raw vulnerability which makes for an at times devastatingly powerful whole.
Credit must be given at this point to the wonderful players Glover has surrounded herself with who bring her songs so vividly to life. The rhythm section is fully in tune with her vision, ebbing and flowing but never dominating. Her vocals and delicate guitar work is supported by the hopeful melodies of clarinet and the heavier but no less beautiful shades of violin, and this contrast between light and darkness is seemingly at the heart of everything Yes Today do.
Halfway through, the band played a wonderful cover of Françoise Hardy’s Je t’aime which captured the entire room in a perfect moment, uniting us all as the late afternoon sun streamed in. Ultimately however, it was Amy Glover’s poetry and grace which won the day. These first steps could lead her to truly magical places, and it was an absolute pleasure to be a witness to a small part of that journey.
Yes Today is: Amy Glover Vocals/Guitar, Amy McKenny Vocals/Violin, Claire Keech Vocals/Clarinet, Roy Thirlwall Bass, Paul Stride-Noble Drums.
Yes Today – Je t’aime (live at Craftwerk Beers, 04/06/23.)
‘Have you been sleeping on the job? Searching for the words for far too long? Wondering how you missed the call, all the nights you thought were yours.’
True story: If it hadn’t been for the second verse of The Price Is Right you wouldn’t be reading this now. This site wouldn’t have progressed the way it has and I definitelywouldn’t have found the confidence for the other creative endeavours I am currently undertaking if this album and it’s subsequent tour hadn’t arrived at exactly the right time to completely lift me and give me back some self belief.
I have always found an affinity with the writing of Cindy frontperson/leader Karina Gill. The insane hours I keep in my working life seem to tie in perfectly with her observations and insights into the madness that swirls all around us. I’ve lost count of the number of times I’ve fought back tears on the last train home after some lyric or moment hit that little bit deeper than the last time.
For this album, Cindy’s fourth, Gill is joined primarily by long standing keyboardist Aaron Diko, with a revolving cast of Bay Area friends/musicians helping to complete her vision. And what a vision it is.
Why Not Now? progresses with an almost cinematic quality. The opening title track is a tentative, minimalist introduction that presents like the opening scene of a movie before it cuts to its opening credits, which in this case are soundtracked by the mesmerising, free flowing instrumental Standard Candle #3. This long, stately piece sounds almost as if The Velvet Underground had stumbled upon a time travelling Martin Duffy and decided to cover something from Smiley Smile, at the wrong speed. Yes, that good.
Earthly Belonging raises the pace, rallying against our never ending and ultimately futile pursuit of stuff. From here we are left reeling as August breaks us slowly, helpless to do anything other than hang on Gill’s every word.
After Wednesday brings the first side to a close with its San Francisco street sounds and Sad Eyed Beatnik Kevin Linn’s unmistakably snaky lead guitar lines, we are lead skyward by Aaron Diko’s perfect introduction to A Trumpet On The Hillside. This song is an absolute wonder. Time itself seems to slow as Stanley Martinez’s beautiful viola drone combines with the most perfect of vocals to completely capture the heart and mind. When that opening keyboard melody returns at the very end…. well I still can’t find the words.
The aforementioned The Price Is Right features the wonderful bass playing of Kati Mashikian, who somehow manages to be both freely melodic and totally able to pin down the rhythm of the piece. Playboy follows and is incredibly moving in its starkness, with Gill’s unique ability to hit the very deepest of emotions with such few words at its absolute peak. This unadorned bedroom recording finishes with solitary whistling over the loneliest sounding guitar accompaniment, and somehow this seemingly off the cuff moment holds just as much power as the lyrics themselves.
The light relief of Et Surtout follows, where the assembled cast including Chime School mastermind Andy Pastalaniec and Gill’s Flowertown collaborator Mike Ramos provide a muscular backdrop to the Francoise Hardy borrowed lyrics. All that remains after that is the hymn-like bow of Standard Candle #4, where Inna Showalter adds her beautiful voice to this albums dreamlike end credit scene. Each time I reach the end I am as in awe as the very first time I heard it, gently blowing my mind on a long winding train journey, at the wrong end of a long day.
Whilst I realise this has been a very personal account of a very special record, I’d argue that this is what music is truly about. An artist so generously gives us their truth, which we the listener then grapple with in an attempt to make it fit with our own unique scheme of things. Every once in a while however, those two truths seem to align, and that is where the magic happens. Ultimately I guess, this music reminds me that it’s ok not to have all of the answers, as the real beauty is almost always to be found within the question itself.
Out now via Tough Love Records (UK) and Mt.St.Mtn (US.)
Watching from afar here in the UK, April Magazine have been mysteriously both at the heart and in the shadows of the San Francisco underground for some years now, seemingly everywhere and nowhere all at the same time. The 2021 Tough Love Records compilation If The Ceiling Were A Kite vol.1 brought their earlier work to a wider audience, and Wesley’s Convertible Tape For The South, the bands latest tape/download, takes us ever deeper into their world.
In truth, I had been putting off writing about this album because I struggled to know where to begin. It is incredibly hard to try and pick out a song, lyric or standout moment when the entire thing is just so complete. I don’t even like to label this release with a genre. Sometimes music transcends genre, sometimes it just IS. I decided the only way forward was to describe not what this band sounds like, but how they make me feel.
It is obvious from the very beginning that this is a major work that will require the full commitment of the listener. Opener Wesley’s Convertible brings forth a heaviness that feels as if the weight of the world is closing in all around, whilst leaving the door ajar just enough to forge a path through. This path leads to the ringing guitar chimes of Brighter and with them the hope and light relief of sun breaking through the clouds. Further on, as we reach the albums midway point Jungle City Beat pulls the listener straight into the heart of the city, the concrete jungle, walking the streets fighting for air amidst endless content. By penultimate track Landscape it feels as if we’re at the beach, finding some kind of peace beneath blown out skies.
Every song here is a lo-fi sonic marvel that weaves a narrative into your mind and leads you somewhere new and unexpected. This album demands both your attention and your patience. Nothing happens quickly in the world of April Magazine and they use that time to ensure that every single note matters. Wesley’s Convertible Tape For The South is the bands most complete statement to date, and is truly essential listening.
This album has been floating around the San Francisco underground for a little while now, but with vinyl copies at last reaching the UK and Summer at our doorsteps it felt just the right time to attempt to capture its magic here.
The first thing that hits me every time I Iisten to Whitney’s Playland is the beauty of Inna Showalter’s voice. Her every syllable is a sun-kissed, ocean drenched miracle. The overarching themes of this album are love, loss and loneliness, and the way in which she so effortlessly carries the weight of those emotions across its ten songs is nothing short of breathtaking. Showalter, alongside friend and fellow Bay Area scene long-stay George Tarlson, has pulled off that rarest of feats here; an accessible, hook-laden album that holds enough mystery and intrigue to keep you coming back for more.
Whilst Sunset Sea Breeze undoubtedly embraces the glistening heart of nineties indie, that time when anything and everything felt fleetingly possible, there is also a 60s/70s folk undercurrent that becomes more noticeable as the album progresses. Despite these references to the past the album sounds completely new owing to its unique production, which somehow feels both hi-fi and lo-fi at the same time. The instrumentation cuts through and bites hard, but the arrangements are sparser than they initially seem, which makes for a compelling, dynamic listening experience.
My very favourite moment on an album that contains absolutely no misses is second side opener Rain Song, where everything it is to be Whitney’s Playland comes together perfectly. A melody for the ages, killer guitar changes, and a chorus that, like life and love itself, seemingly lasts forever but somehow still ends too soon.
Sunset Sea Breeze is exactly the type of album that could break free from the San Francisco underground due to its universal and timeless appeal, and in doing so help to bring the latest wave of beautiful Bay Area sounds out into the light.
Out now via Paisley Shirt Records (US) and Meritorio Records (Europe/UK.)
A few days ago I was driving to work listening to this album, feeling a little sorry for myself about the long night ahead. As the chorus to the anthemic Hang On To Your Dreams came in I felt my eyes begin to fill with tears, as every lost opportunity or long forgotten dream I’d ever had suddenly seemed to come flooding back all at once. Music huh?
Now is the project of San Francisco based duo Oliver (drums) and Will (all other instruments and all vocals.) Saturday’s Child is the latest in a series of Bandcamp releases stretching back to 2016 and it’s an intricately played and thoughtfully rendered rush of energy from start to finish.
Highlights come thick and fast. The strident post-punk attitude of Early One Morning brings to mind the early work of underrated UK act The Comsat Angels. Pages From The Glossies stutters along with an almost Dinosaur L-esque disco pulse and Make It with its classic indie anthem tension and release may just be my favourite of the lot. All of this is wrapped up in a gloriously bright production that makes my ears hurt in all the right places.
Saturday’s Child carries with it a swagger and confidence that belies it’s lo-fi roots. This isn’t a slow burner of an album. I loved it on the first listen, I loved it on the tenth listen, I’ll most probably love it for ever more. What a thrill!
I have recently found and fallen for this wonderful 7”/download that arrived late last year on the splendidly named California based label Fruits & Flowers. The Gabys are a UK duo and……… that’s literally everything I can find. How perfect. No hype, no drama, no promises. Just these four perfect moments in time.
This whole EP sounds like that brief moment when you first wake up, before you’ve realised it was all just a dream. I love the lyrics even if I can’t catch most of them. I love what their presence suggests, the rise and fall of melody against the metallic haze of guitar tells me everything I need to know.
Fans of the VU will find lots to love here, and anybody moved by the wonder of the current San Francisco underground will find its essence in abundance. There is a deep beauty contained within these four songs, but you have to be willing and open to finding it. A bit like life really. THAT is how important this stuff is.
Do you ever find yourself coming as the whole world seems to be going? Do you find it’s almost always the journey and hardly ever the destination? If so, this is your music.
I have just spent a dreamy forty minutes with this fine new album, and now feel it my duty to help get the word out and hopefully tune a few others into its subtle charms.
The now San Francisco based project Black Thumb is the brain child of Colin Wilde and began back in 2012, and his second album The Flying Propeller Group, following on from 2016 debut It Is Well With My Soul, has just arrived on the fine Dandy Boy Records label.
Indie Twitter/Instagram really worked its magic for me with this one, with the same loyal few shouting out and sharing until I inevitably took the plunge. As soon as I saw the splendid Peter Hurley (April Magazine) artwork I knew I was onto a winner, and the promise of vocal contributions from Kati Mashikian (April Magazine/Mister Baby/Reds Pinks & Purples) sealed the deal.
This is DIY outsider pop at it’s most potent. The machine rhythms bite hard when they need to (Come On), the guitars crunch and burn (Out Of Sight) and soothe and sway (Walk On By) in equal measure, and Wilde’s vocals intone their message throughout, plainly and without affectation.
The aforementioned Mashikian provides beautiful melodic counterpoints, and the at times mantra like lyrics, although dark in essence, somehow continuously find ways to uplift. These are serious times and it’s ridiculous to suggest otherwise, which makes it so important that albums like this exist to help us feel a little less alone.
These songs fuse the street swagger of The Velvet Underground with the psychedelic ambience of early Kosmische to forge a vital new path in the ever blossoming San Francisco underground. It is an album that rewards repeated plays, and once you find that point of connection and surrender to its will, you’ll come out the other side all the better for it.
Cindy are my favourite band, and so when the San Francisco based group announced their first UK tour I was naturally delighted. A pre gig meet up in Bristol was loosely arranged, but I never could have imagined the way it would ultimately pan out, with the band welcoming me along for the duration of their stay in the City. What follows is an unashamedly misty eyed account of what was a very special day.
It all started calmly enough with an invite to the Mickey Zoggs cafe where the band would be holding a one hour session for Noods Radio, playing the work of fellow Bay Area friends and collaborators. When I arrived I assumed they’d be off out back somewhere so I could grab a coffee and get my shit together, but as soon as I opened the door I was greeted by the hand of drummer Mike Ramos and the welcoming embrace of front person/bandleader Karina Gill. Band introductions and radio session completed, it was soon time for a trip to the city centre for some record shopping, a trip I was delighted to be invited along to.
We walked and we talked. We talked of the differences between living in New York and California. We talked of Bill Evans and the Village Vanguard. We talked of how UK motorists give precisely zero fucks about weary pedestrians. The destination was Wanted Records, a real crate diggers paradise, and I highly recommend a visit if you ever find yourself in Bristol.
After finalising overnight plans there was time for a visit to Rough Trade where the band were immediately recognised by the shop owner who grabbed his camera to capture them holding Cindy albums both old and brand new, before wishing them well for the nights show. I meanwhile, stood quietly off centre drinking it all in and feeling absolutely delighted for them all. With evening time approaching and soundcheck looming it was time to move on, and so more walking, more talking, as we sauntered back through the fine but persistent rain to the nights venue The Crofters Rights.
The soundcheck wasn’t without issue and the band, although hungry and running short on time to recharge before doors open, were fully committed to ensuring everything was as right as it possibly could be. Karina would later explain to me the importance of creating the right environment on stage in order for her to be able to fully immerse herself in the moment.
Cindy is primarily Karina Gill’s project. She carries herself with a gentle energy whilst projecting a powerful aura, and she exerts authority over situations that arise with kindness and compassion. Throughout the day I’m frequently touched by her bandmates commitment to realising her vision. Long standing keyboardist Aaron calm and collected. Bassist Will with his infectious enthusiasm. Guitarist/Viola drone maestro Stanley understated and quite frankly cool as fuck. Finally, drummer/Flowertown collaborator Mike who is effortlessly kind and an absolute gentleman. Soundcheck wrapped up, it was time for food and pre gig preparation.
Aside from some rather grim stories of previous post gig mansplaining, the vibe in the green room was outwardly relaxed, and the band seemed most concerned about making sure they would be ready in time to catch the nights fine support band Pictureframes, who were playing their first gig and would no doubt appreciate the support.
At around 9pm Cindy took the stage. As their set unfolded I became completely immersed. The band creates small worlds of sound which, for the initiated like myself, immediately feel like home. For the uninitiated however, there is work to be done. The songs aren’t always immediate, and require commitment and the full attention of the listener. As Karina put it herself so perfectly on one of those previous long rainy strolls, ‘You kind of have to meet me halfway.’ With that in mind it was fascinating to hear the initial gentle patter from the back of the room gently dissolve as one by one people began to really hear, and really FEEL what they were in the presence of. Records were bought and signed, equipment was gathered up, and then slowly the venue wound down.
Post gig we retreated to a small local pub, where what could have merely served as a footnote could possibly end up providing me with one of the most enduring memories of the entire day. The band, relaxed and at ease, talking movies, sharing stories, with me somehow there at the heart of it all, at once in awe and completely at home.
All that remained after that were hugs in the Hostel hallway, as the band went one way and I another. The following morning I travelled back to the South East, walking a little taller and dreaming a little bigger.
Index For Working Musik is a new venture out of London featuring Max Oscarnold (Proper Ornaments/TOY), Nathalie Bruno (DRIFT.) Bobby Voltaire (Proper Ornaments), Joe Loftus (TOY), and Edgar Smith (J.C Flowers.)
Two things had me excited for this new project when it was announced. Firstly, it was the opportunity to have Max Oscarnold’s compositions at the forefront, after finding his captivating lyrics and driving psych grooves the highlight of the last two Proper Ornaments albums. Secondly, it was the fact he was working with Nathalie Bruno, who’s DRIFT. project provided one of the electronic highlights of my 2020. It’s those two contrasting elements that are the push-pull driving dynamic at the heart of this album.
The pre-album singles, as good as they undoubtedly are, don’t really do justice to how diverse and deep this record is. This is serious music for serious times, be it the broken harmonies that rise up against the fractured drums of closer Habanita, or the unsettling double bass scrapes that flow beneath Athletes Of Exile. The increasingly futile “set me free” chants of psych-blues jam Ambiguous Fauna provide yet another highlight, and if one song here shows how hard this band can swing live, it’s this one.
Bruno’s uncompromising bass is a constant highlight, reaching its peak on the dirty electro instrumental Isis Beatles. This track perhaps best captures the overall mood of this album. Psychedelic grooves rendered slate grey by the imposing chaos that surrounds us all, closing in as we fight, fly or freeze.
Repeated plays bear the biggest rewards with this LP, I find myself finding new things to love with each listen. What I first considered an enjoyable side project is now, in my mind at least, elevated to something much higher, much deeper.
Out now via Tough Love Records, another essential release from one of the very best labels out there doing it.
I was first introduced to the wonderful San Francisco indiepop scene by hearing The Reds, Pinks & Purples (Glenn Donaldson) back in 2020. From there I’ve fallen in love with the likes of Cindy, Tony Jay, April Magazine and countless others playing woozy lofi dreampop that is both barely there and everywhere all at the same time. (For further reading on the wider SF scene I heartily recommend a read of this wonderful piece by Mariana Timony, published late last year… https://daily.bandcamp.com/scene-report/san-francisco-indie-pop-list)
Flowertown comprises Karina Gill (Cindy) and Mike Ramos (Tony Jay/April Magazine) and this is their third vinyl release. The title track ‘Half Yesterday’ has just dropped and it’s wonderful. Less tape hiss induced atmospherics on this latest cut, with more clarity in the melodies and some gorgeous keys weaving in and out of the mix.
We live in the strangest, most chaotic of times, and this music gives me another space to exist in, a space where time moves along a little slower, and all those little in between moments that matter so much have room to flourish. I recommend repeated listening, because once it clicks you’re letting yourself into the most beautiful of worlds.
This is the second album from Yorkshire duo XAM Duo, and they weren’t at all on my radar until my local record shop South made it album of the week. I clicked through and for once the label press release spiel enticed me in rather than completely baffle me as is often the case these days.
This is beautiful meditative electronica (or even Jazztronica if I may?) We start and end with beat driven synth bass enthused tunes, and in between go deeper and deeper inwards with ambient soundscapes that put me in mind of the dreamier end of the Lost In Translation soundtrack. The wonderfully (just about) restrained saxophone that weaves in and out of this album gives me the ‘In A Silent Way’ feels at times, and adds yet another layer to this short but affecting record.
Any time I’ve been starting to feel a bit chaotic these tunes have been pulling me back together, and anything bridging the gap between 90s techno and 70s Miles is an absolute winner in my book.
Instagram stories from like minded souls can be a fine way to pick up on new music and so it was for me with London based MYTBE. Somebody linked through to her 2021 jam ‘Tied’ and I was hooked. A stunning voice, raw lyrics and a sound that was equal parts introspective acoustic and expansive electronic. (The live version on YouTube remains one of the finest things I’ve seen on there in recent years https://youtu.be/K2t6s6L1t8E.)
‘Moody’ is the latest MYTBE release and this time we are as stripped back as we can get. The purest of vocals that cracks with emotion as the song develops, with a beautifully fragile picked guitar backing, jazzing rather than folking as it unfolds slowly. This isn’t your standard verse/chorus songwriter stuff, this is a song that goes exactly where it feels, and every note pulls you along with it. So good.
heavymetalkids.uk 