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Its time for everyone to take note in your diaries. On Thursday March 17th, the stunning Kontakte are to launch their next full length album We Move Through Negative Spaces via Drifting Falling Records at Vibe Bar on Brick Lane (London). Stream the album in its entirety HERE
Let me say for now that the prospect of seeing them gets more exciting by the day and that their live show (with visuals!!) is a fantastic mix of electronica, soundscapes, good old fashion post-rock, beautiful, delicate guitar melodies and thunderous walls of sound. THE ULTIMATE CINEMATIC MUSIC EXPERIENCE. And not only is there something for everyone to enjoy in Kontakte, the rest of the line up also features some mighty artists especially chosen to complement the occasion.
IAMBIC from Brighton whose music blends neo-classical elements with electronica. IAMBIC made the amazing remix of Distant Street Lights featured on Codes In The Clouds‘ Paper Canyon Recycled album released last November. Check it out here.
Also on the bill are Wild Dogs In Winter, a band signed to Gravid Hands Records along side cinematic popsters Fighting Kites. Think Sigur Ros crossed with Do Make Say Think – that Canadian lot from the Godspeed You! Black Emperor days.
And finally we have some newbies on the scene Waking Aida. They’re getting quite a lot of attention on the south coast so we thought we’d give them the opportunity to play to the London crowd.
Advance tickets are only £5 so grab em here: wegottickets
I would like to introduce a band with true potential; Leicester based 4-piece Silent Devices. As far as I know Two Decades is their debut EP, and you can tell by the quality of the recordings, not that its off-putting, but its not yet as good as it should be. The style of production used by Justin Lockey in The British Expeditionary Force‘s first album (Erased Tapes) would sound incredible I reckon!
What makes these guys stand out is the simplicity of it all. You can really tell that this band have grasped the absolutely essential concept that making a record is not about complexity, its about crafting a warm sound and layering each individual part meticulously, as to make every note, hi-hat, chord change and so on count and affect the listener. There is certainly something about them that brings Sigur Ros to mind, as well as This Will Destroy You, but these artists are in such high standing that a) who isn’t trying to emulate them? and b) what they convey is pure, egoless, accessible emotion and any band who gets near that is on the right track.
The opening song “Playing Fields” is my favourite. The song is nicely paced, with a beautifully simple melody on the guitar, nice use of cymbals and xylophone, and above all a very seamless progression from start to finish. The build up at the end is brilliant as well, with a most satisfying resolution on the alternation of chords I and IV. I know I don’t need to explain these technical bits, but I want to show that under the simple exterior Silent Devices understand that simple tricks like ending a song on certain chords of a scale appeals to our ears and spyche on a scientific level (hence why blues is SO important), and these tricks are as old and engrained in western culture as Bach. Most people don’t realize that making simple digestible music is actually a whole lot more difficult than making complicated music.
NOW THIS IS DELIGHTFUL!
This is probably the poppy-est record I’ve reviewed on Cinematic Music so far, but its one that everyone must give a chance. I’ve been listening to the latest Noah And The Whale album a lot these days, and I’ve found that Fraser has captured a similar feel (maybe not so depressing though). A Garden At The Top Of The Tree has now been released on Moody Noodle Records and I suspect Fraser may well be the next ‘indie-pop’ sensation.
The album presents a perfect range of feels which enables you to enjoy it from start to finish in a total daydream-like way. Tracks like the opener ‘Release Me’ and ‘Bouboulina Sunshine’ are outrageously catchy, fun-filled pop anthems, and ‘Old Tree’ (my personal favourite with ‘Release Me’) shows a more introverted side with beautiful string parts and more long-winded melodies. What I like about this album is that apart from the obvious comparisons one could make, there seems to be a lot of subtle, no doubt involuntary, hints to other artists like Radiohead and Nick Drake. Fraser certainly hasn’t ripped anything off of these artists, but small things like the way he sings, certain arrangements and the production, muster up the same warm fuzzy feeling you get when you know you like something.
I’m told Fraser has released ‘Lay it on the Line’, the first single from the album, and has got a lot of attention from the US and Europe and intends to embark on a tour shortly so keep a good look out! For you Londoners, Fraser already has some live dates so don’t miss out!