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Aisha Badru – Pendulum

Aisha Badru makes an impressive label debut courtesy of Pendulum.

The LP puts its best foot forward as the opener ‘Mind on Fire’ takes hold of the ear. With an acoustic guitar clacking out a simple rhythm Badru, uses her melodic vocal tones to hum the backing track. The minimalist arrangement sets the stage for the New York artist’s confident, energized, and sweet voice.

The American sings:
“Have you seen the girl with the mind on fire? She set out to tell the world how they suppress our desires. Said she wouldn’t back down ’till the rules were amended and she didn’t give a f**k who she offended“.

It’s a strong lyrical offering that appears to tell of a protagonist looking to reignite her personal fire and make a difference to the world. It’s the LP’s most captivating track, which helps to propel the listener through the rest of what is an enjoyable auditory experience.

‘Bridges’ and ‘Navy Blues’ also impress on the album’s top half. The latter finds Badru reflecting on a toxic relationship with an antagonist who looks to tear down the partnership all the while maintaining the pretence of love.

Badru sings:
“you kicked me down I got back up now. The scars I wear are fading”.
The tracks instrumentation again plays its role well with the violin’s melody proving a gentle accompaniment to the singer’s journey out of her misery.

In promotional material for the project it was revealed that the musician found her producer by scouring the pages of Google. An unorthodox approach you might say, but certainly a prosperous one.

Chris Hutchison Brings the acoustic and the electronic together well, with the artificial complementing the acoustic rather than overshadowing it.

Whether it’s the futuristic distorted backing vocals on ‘Bridges’, the drip drip drip opening of ‘Fossil Fuels’ or, the piano drum combination on ‘Just Visiting’, the producer holds the listener’s attention, whilst maintaining a tranquil easy listening mood.
The second half of the nine-song set isn’t quite as strong as the first.

‘Fossil Fuels’ takes a good shot at being lyrically fresh but, stretches in trying to pair up “precipitation” and “reciprocation” as representatives for love and life. Meanwhile, album bookends ‘Splintered’ and ‘Dreamer’ fall into the well-trodden category of ‘life’s a bit crummy right now but the solution is within us if only we would wake up.’

The songs by no means make for a bad ending, but they don’t match up to the rest of the strong Pendulum.

TORS New Single + announcement of upcoming EP ‘Wilder Days’ + debut appearance at The Great Escape

The British Three-Piece release the New Single 23rd March

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Performing Live at:

Live at Leeds, Leeds, 5th May

The Great Escape, Brighton, 18th May

Bushstock Festival, Shepherd’s Bush, 23rd June

Glas-Denbury Festival, Devon, 6th July

110 Above Festival, Leicestershire, 4th August

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‘Tors have a wonderfully fresh, entirely natural, feel.’ – Clash

‘Tors’ music is of the soul, of the earth, we can hear it from the first note.’ – Earmilk

‘Tors feel really familiar when you really dig in, but it might just be because I can’t stop listening to them.’ – Ear To The Ground

Tors return with their highly engaging folk-based harmonies on the second single ‘We Say No’ off the upcoming EP ‘Wilder Days’, following their sold out UK tour with Tom Walker at the end of 2017. The title-single ‘Wilder Days’ gained attention from Alt Press, Earmilk and more.

Matt and Theo; two brothers that make up two thirds of Tors, started out their musical careers writing tracks featuring in critically acclaimed Channel 4 Drama – Skins. Alongside Tors, Matt writes music for multiple big-time Japanese and Korean pop bands, and has also written chart hits in Italy and Poland. In addition, he’s written a song that is currently being supported by Radio 1 – ‘Better’ by Declan J Donovan. Additionally, Tors have made a massive impact with the likes of BBC introducing, 6Music and Radio X and with streams amounting totally over 2million so far, they’re ready to make waves with the release of their new single ‘We Say No’, recorded naturally in their Dad’s old shed in Devon.

‘We Say No’ holds the bulk of the melancholic presence in Tors’ upcoming EP. The single’s tempo is much faster than its counterparts, and with use of offbeat guitar throughout, it exposes a sense of urgency that embraces aspects of songwriting similar to that of The Mystery Jets. However, the choruses bring back those same stylistic Indie-Folk Tors harmonies and excellent use of toms, creating thistle-thick texture from the 3-piece.

Tors are named after a collection of different rock formations in Devon, where Matt and Theo Weedon (frontmen of Tors) hail from. The brothers, who started the band together, are grandsons of the late Bert Weedon, a famous guitarist during the 50’s and 60’s, and writer of Play In A Day; a book which has been credited by Eric Clapton, Paul McCartney, John Lennon (to name a few), for their guitar abilities.

Tors have a big year ahead of them, where they are scheduled to play The Great Escape, as well as a number of U.K festivals this summer; they are sure to turn heads and prick ears in 2018.

“’We Say No’ is about depression and overcoming what can feel like a tidal wave of anxiety; the idea that there is worth and light in the struggle itself. As a band we’ve been knocked back enough times that building ourselves back up turns into it’s own little art form, it’s like breathing, you have to get deflated to let the air in again.” – Tors

Odina breathes Nothing Makes Sense on her new single

The Barcelona-born folk singer/songwriter breathes pensive lyrics accompanied with warm guitar chords on her new single, combining feelings of melancholy and optimistic anticipation. The new single contrasts with her previous EP ‘Broken’ which’s songwriting was influenced by London’s greyness and conceived in the loneliness of her cupboard-sized bedroom.

Blanca (Odina) who hails from Tarragona; just outside Barcelona, gets her name from ‘Mount Odina’ in northern Spain where her grandparents are from. The name reflects the rawness of her music; it keeps her linked with her roots, this shines through in ‘Nothing Makes Sense’.

The New Single from the upcoming EP ‘Nothing Makes Sense’Released on 02/02/18 via AntiFragile Music

 

Odina is delicately raw… her minimalist musings express an emotional core” – The 405

“A bedroom pop artist” – Clash

“Simple and effective pop balladry” – The Line of Best Fit

“This song will make you feel all the feels” – Wonderland

 

Complete innocence echoes out the voice of the young Spanish artist. Influenced by Keaton Henson and Bon Iver amongst others, 2016 saw the release of Odina’s debut EP Broken, a project conceived in the intimate space of her small London bedroom that has managed to amass over a million streams on Spotify.

 

Her new single ‘Nothing Makes Sense’ taken from her upcoming EP of the same name, is one of auditory intimacy. Blanca (Odina) breathes ‘Nothing Makes Sense’, and it feels so intensely personal. It amalgamates feelings of melancholy and optimism, the latter brought on by the warmth of the reverberating clean guitar chords, which accompany her vocals.

Laura Marling-esque melancholic honesty shines through this single, until brass accompaniment during the bridge following Odina singing ‘nothing makes sense at all…’ offers listeners a thick texture of hope and acceptance that ‘nothing makes sense’.

Odina is a project that started not only at a point of emotional vulnerability; the breaking of a relationship, but also at a point of “exile” when moving to a different country; from sunny Barcelona to the rainy streets of London.

This song is about feeling confused, about overthinking life, death, and everything else. It tries to look at some questions to which there are no answers, while at the same time arriving at the realization that there will never be an answer to them, and coming to accept that.’ – Odina

L I S T E N

https://soundcloud.com/odinamusic/nothing-makes-sense-1

L I V E

14th Apr – L’Auditori de Barcelona, BARCELONA

15th Apr – Sala El Sol, MADRID

 

D I S C O V E R

http://www.odinamusic.com/

https://soundcloud.com/odinamusic

www.facebook.com/musicodina/

https://twitter.com/odinamusic

 

 

TME.FM Radio’s Top Songs Of 2017.

Below is the playlist of our 20 favorite songs of 2017.

Yes I know there are 42 but without declaring war among ourselves we could not make the list any smaller.

We had to use dirty tricks,back stabbing,bribery,coercion and  payment of favors but the 7 of us finally agreed.

We apologize to all the artists who have not got a song on the list , it does not mean they were not good enough we could not make a decision.

This list in no way reflects the TOP ALBUMS OF THE YEAR list which is being compiled in a much more democratic way. No bribes will be accepted from artists or PR companies I can assure you.

Now press play and listen to the best of the best of the best songs played on TME.FM Radio in 2017.

Elliott Brood – Ghost Gardens

Several things spring to mind when one thinks of veteran folk rockers Elliott Brood: steely acoustic guitar strums, banjos and lyrics that address more bygone Canadiana than a Pierre Berton book, with all of those lines sung in a twangy downhome delivery. What we fans of the Ontario alt-country troop don’t expect, however, is for its members to put out tracks like “Searching,” one of the highlights from their new album Ghost Gardens.

The minute-and-a-half song comes second last on this LP, and features distortion and whines akin to synthesizers, all of it evoking a short-circuiting vintage radio. It’s not electronica or overly avant-garde, though; acoustic string plucks are thrown in for good measure, along with samples of a few distraught fellows shouting in the background.

It’s an experimental detour on a mostly downbeat, minimalistic folk album. This isn’t an entirely new, avant-garde foray, though; rather, “Searching,” and the other songs that make up Ghost Gardens, are unearthed demos that the band first started working on a decade and a half ago.

That means many of these songs are quintessential Brood. For instance: quaking mandolin notes and twangy guitar strums abound on closing track “For the Girl,” (which also features evocative lyrics like, “leave me here to blister away in the sun”). “The Widower” is even more traditional, featuring waltz-y guitar and piano notes in the opening moments, followed by echoing vocals, all of it amounting to one of the most gorgeously melancholy tracks of the band’s career. Then there’s the threadbare and forlorn “Adeline,” a winner thanks to its minimal banjo and piano backing. What really puts that track over, though, is its childlike lyrics and delivery, which make it adorably moving. It’s a folk lullaby that’ll tug the heartstrings of fans from any generation.

Don’t worry though: Ghost Gardens is not an overly downcast affair, and its softer numbers are balanced by bawdier tracks like the rockabilly-esque “‘Til the Sun Comes Up Again,” and the sing-along worthy “Dig a Little Hole.” Those peppier songs, along with its quieter moments, make Ghost Gardens a well-rounded release, meaning fans of both Elliott Brood and of folk in general will love every gorgeously crafted second of this new LP. (Paper Bag)

Alana Henderson New Single Out, Let This Remain

New folk-laden single from Hozier’s long-time cellist available now

 

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In addition to the beautiful instrumentation, Henderson boasts an incredible, lush songwriting talent characteristic of many Irish folk artists. Her vocals are arresting and her bohemian sound haunting. The cello is inventive and subtle, a lilting undercurrent behind soft electronics.(Earmilk)

Alana Henderson is a cellist and singer-songwriter from Co. Tyrone, Northern Ireland.  Her self-released Wax and WaneEP (2014) drew solid comparisons to Joanna Newsome and Fiona Apple. Shortly thereafter she stepped up to accompany Hozier on cello and supporting vocals. Between 2014-2015 she played over 300 headline shows with Hozier’s band, including notable performances at Glastonbury, Saturday Night Live, Jools Holland and the Grammy’s with Annie Lennox. Her new single, “Let This Remain,” is an icy and unforgiving anti-ballad, fusing an electronic undercurrent to her darkly organic indie-folk.

Alana’s mastery of the cello is a highlight of the track, showcasing her dynamic techniques that are looped and overlapped to create a dramatic atmosphere; expertly balancing an arrangement that is both haunting and beautiful.  Written in L.A. near the end of that massive tour, the lyrics reflect on the transient nature of relationships on the road and the emotional detachment that ensues.  When no relationship is expected to last, she jabs, “you could be the one I don’t regret…yet.”

 

“After a period of post-tour decompression it was recorded at a friend’s isolated Irish cottage with the help of Belfast-based musician/producer Alan Haslam and using only the most rudimentary equipment; my cello, a Roland Juno-106 synthesiser and a TR-808 drum machine, along with some improvised acoustic percussion (we snapped a pair of shoe trees together for the snare sound).”

L I S T E N

Alana Henderson – Let This Remain

https://soundcloud.com/alanahenderson/let-this-remain

D I S C O V E R

Soundcloud: https://soundcloud.com/alanahenderson
Facebook: https://www.facebook.com/alanahendersoncello/
Website: https://www.alanahenderson.com/
Spotify: https://open.spotify.com/artist/6P6SqdQjXIzTWKj5QBWliY

ANE BRUN NEW ALBUM ‘LEAVE ME BREATHLESS’ OUT OCTOBER 6th ON BALLOON RANGER RECORDS

Multiple Norwegian Grammy Award winning artist Ane Brun´s new album, ‘Leave Me Breathless’ will be released on October 6th on Balloon Ranger Records. The album is her seventh studio release and most personal yet given that it consists of fourteen cover versions.

Love and romance have never been themes Ane Brun has shied away from, her songs frequently overflowing with candid, confessional insights. Nonetheless, Brun confides, “the whole project started with me falling head over heels with someone new. I recorded cover songs for this person because, quite simply, I was overwhelmed by emotions. The love story was short, but, when it ended, I continued the project. The original idea had been to interpret love songs, romantic songs, but, in the end, there are a few with other themes as well.”

‘Leave Me Breathless’ features intimate versions of classic works from Foreigner, Bob Dylan, Radiohead, Elvis Presley, The Righteous Brothers, Mariah Cary, Nick Cave, Tom Petty, Joni Mitchell, Sade, Mariah Carey and many more.

Sera Cahoone heads out on first full band tour in 5 years this fall!

Cahoone readies for first full-band tour in 5 years!

We’re very excited to announce that Sera Cahoone is heading out on tour this September! This past year has seen her touring with the likes of Tift Merrit, Son Volt and Gregory Alan Isakov but now she’s ready to strike out on with her full band in tow to support From Where I Started.

We had some wonderful press for the album including the NPR First Listen Stephen Thompson wrote up here and CBC’s First Play here. This fantastic interview on Uproxx, a glowing No Depression review, this piece on LGTBQNation referencing the interview Cahoone had with Jewly Hight for NPR’s Songs We LoveElle Magazine’s ’10 Best New Songs’ of March and a great American Songwriter piece. Beyond that Sera’s album received high praise from the Bluegrass Situation, Saving Country Music, Curve Magazine, KEXP, Paste, The Seattle Times, Seattle Magazine, Seattle Metropolitan, Seattle Weekly and a ton more.


 

The world of American roots music is no stranger to Seattle songwriter Sera Cahoone. Even though her last three albums were on Sub Pop Records and she spent years at the top of the indie charts, she’s always had a streak of Americana that ran through her music, a love of the humble folk song that bolstered her art. She’s returning now to these earliest influences with her new album, From Where I Started (to be released March 24, 2017). Growing up, Cahoone first found her voice in Colorado dive bars, backing up old blues musicians at age 12 on the drums. Her father, a Rocky Mountain dynamite salesman, took the family along to mining conferences and old honky-tonks in the state. The sounds she heard there—the twang of country crooners, cowboy boots on peanut shells—have stayed with her all the way to Seattle, where she lives now, and the seminal indie rock bands she’s been a part of in the city (Carissa’s Weird, Band of Horses).

To make From Where I Started, her first new album since 2012’s Dear Creek Canyon, Cahoone traveled south to Portland to work with producer John Askew (Neko Case, Laura Gibson, Alela Diane). Askew brought together key Portland musicians like Rob Berger (Iron and Wine, Lucinda Williams), Dave Depper (Death Cab For Cutie) and Annalisa Tornfelt (Black Prairie) with Cahoone’s Seattle bandmates – Jeff Fielder (Mark Lanegan, Amy Ray) and Jason Kardong (Son Volt, Jay Farrar). The band lays a deep bedrock beneath Cahoone’s songs, supporting her arcing vocals and innovative guitar and banjo playing. The album is driven by a strong rhythmic sensibility, owed to Cahoone’s background as a drummer for indie rock bands. “A lot of my songs start as a beat, I add guitar, then lyrics at the end,” she says. “When I write songs I usually sit at my drum kit playing both drums and guitar at the same time.”

From Where I Started plays on the rougher, darker edges of the traditional love song. Like any good country album, the songs here deal with love and loss, but Cahoone also knows how to surround loss with hope, to temper a sad song with a turn in the major key. The optimism of the love song “Up To Me,” buoyed by fingerpicked guitar and banjo, gives way to the weary resignation of “Taken Its Toll,” with its plaintive pedal steel and echoing vocal harmonies. “Ladybug,” is a poignant song that followed the tragic death of Cahoone’s cousin Tawnee.

From Where I Started represents a refocusing for Sera Cahoone. It positions her as a songwriter beholden to the old country sounds she grew up with, a songwriter who’s always been able to deftly translate a personal perspective into a universal view. It’s an album about falling in and out of love, finding new hope, and learning that the best way to move forward is to remember whereyou began.

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Lisa Knapp

As spring flashes in, this album heralds the season with astonishing power. Lisa Knapp has long been a fascinating folk artist: an ex-raver and Radio 2 folk award-winner who makes traditional songs sing, even as she experiments wildly with the sounds and textures around them. On her third album, Knapp takes 12 tracks on dazzling, occasionally frightening journeys. Hooting owls and Radio Ballad-like descriptions of rituals give opener The Night Before May a sinister edge, while Staines Morris’s thundering rhythms are full of lust, earth and glee (aided by a mischievous cameo by Current 93’s David Tibet). A tender, sparse duet with long-time folk-lover Graham Coxon, Searching for Lambs is another highlight, while Knapp’s voice throughout is a relevation, both pure and wild, springing free. Cuckoos, whirring clocks and buzzing flies add extra layers to this fascinating soundworld, on an album overflowing with warmth, light and waywardness.

 

Lisa Knapp was hailed as one of Brit folk’s brightest new young stars when she appeared as if from nowhere with her stirring, passionate debut album, Wild and Undaunted, in 2007. Yet by then Knapp was already over 30 and married with a small daughter, having discovered folk music relatively late after spending her teenage years going to raves and dancing to hip-hop records. A distant relative of Boris Karloff, she was raised in South London by a single mother, took violin lessons as a child, and played in the school orchestra. She discovered folk music in her early 20s after discovering Steeleye Span, Fairport Convention, Shirley Collins and the Waterboys through a friend’s parents’ record collection, and started attending the Court Sessions folk club in Balham, South London. She also started trawling second-hand record shops for old folk records, dug out her old violin from the loft, had lessons from Peter Cooper and joined the folk club’s local house band. She became immersed in the London-Irish session scene and, inspired by hearing Irish “sean nos” singers, started singing floor spots in folk clubs. Successful spots at Redditch Folk Festival encouraged her to take her music more seriously. She was contemplating a professional career when diagnosed with a non-functioning pituitary adenoma. After various scans, specialists decided only to operate if the tumor grew. Around the same time, Knapp met Gerry Diver, a versatile Irish musician who’d previously played with the band Sin E. Knapp sang two songs, “The Blacksmith” and “Bonnie at Morn” on Diver’s solo album, Diversions, in 2002. They married and in 2003 their daughter Bonnie was born. The combination of motherhood and health worries put her music career on hold again until producer Youth heard her version of “The Blacksmith” and asked if he could remix it to include a compilation album he was working on called What the Folk.

On the back of it Youth asked her to record an album of contemporary songs, but Knapp had been totally immersed in English traditional music since attending a residential course in Gloucestershire run by Chris Wood and had her own ideas: she wanted to make an album of traditional songs. With Gerry Diver as co-producer, engineer, arranger, and multi-instrumentalist, the end result was the Wild and Undaunted album. Predominantly comprising traditional English material, with a couple of original songs of her own, the album had an immediate impact and a series of enthusiastic reviews. Knapp’s unusually charged singing was redolent of old singers like Shirley Collins and Anne Briggs, yet the modern arrangements and subtle use of technology also hit a chord with young audiences. Equally impassioned live performances fronting a trio and switching from fiddle to banjo and autoharp enhanced her reputation further.

PHOEBE LEGERE

PHOEBE LEGERE fronts a family-friendly ensemble that blends elements of Americana, Cajun, New Orleans jazz, country, folk and blues into a spicy gumbo.  A standard bearer of the Acadian-Cajun renaissance, Legere is descended from one of the original Acadian families in North America. Phoebe Legere plays seven instruments. She is an award-winning accordion player, virtuoso piano player, a rural folk blues guitar stylist, and an award-winning songwriter.

Phoebe Legere has released fifteen CDs of original and traditional music. Legere’s 2015 ACADIAN MOON was added to over forty radio stations in Canada.  Her new full length album is called Heart of Love. It ships to college radio this week.Legere blurs the lines between music composition, visual art, performance, community organizing and political activism. Legere has appeared on National Public Radio, CBS Sunday Morning, ABC, NBC, PBS and Charlie Rose.  She has performed at Carnegie Hall, Lincoln Center and at the Congrés Mondial Acadien. In 2014 Phoebe, received the prestigious Acker Award for Excellence in the Arts. In 2015 Legere appeared on HBO’s documentary IT’S ME HILARY which was produced by Lena (Girls) Dunham. Her original song Hip Hop Frog, a humorous but deeply serious environmental song,  was licensed by HBO and will be on her new album.

As a teenager Legere was signed Epic Records as a songwriter. She opened for David Bowie on his National Tour in 1991. She led highly influential downtown bands, from Monad to 4 Nurses of the Apocalypse to her nine piece swing-punk outfit Swingalicious. After the spectacular college radio success of “Marilyn Monroe” (Island Records), and her appearance in numerous underground films Legere turned her attention to avant-garde classical music. She was nominated for a Pulitzer Prize for her work with the Cleveland Chamber Symphony. Legere has had six of her original plays with music produced in New York City. She has two upcoming commissions: Theater for the New City (2017) and Dixon Place (2018)

Ms. Legere studied jazz with John Lewis of the Modern Jazz Quartet. Phoebe graduated from Vassar College, studied composition at the Juilliard School, studied piano at the New England Conservatory, and film scoring, orchestration and jazz arranging at the NYU Graduate School of Music Composition. She studied composition with John Lewis of the Modern Jazz Quartet, Morton Subotnick, Wayne Oquin and Dinu Gezzo. She also studied jazz arranging with Ira Newborn and Rick Shemaria.

This highly regarded “musicians musician” has said that the death of the record business is a much needed correction. “Right now musicians have a golden opportunity. For the first time we can shape our own careers. Musicians are no longer the slaves of music corporations. We are free to invent the music we hear in our hearts today, and invent new ways to deliver it to the listeners of tomorrow.” 

The New York Times raved: “Legere plays the piano with enormous authority in a style that encompasses Chopin, blues, ragtime, bebop and beyond, and she brings to her vocal delivery a four octave range, and an extraordinary palette of tonal color and meticulous phrasing.”

This “multi-keyboard, vocal wizard” (CBS) has been compared to “Beethoven” (Paper Magazine) “Edith Piaf” (Stephen Holden, NY Times), “Frank Zappa” (Billboard) “Dorothy Donegan” (John Wilson,NY Times) “Dorothy Parker” (Ruddy Cheeks, The Phoenix) “Jerry Lee Lewis” (Proctor.Lippincott, NY Times) and “Bobby Short” (LIz Smith, NY Daily News). Washington Post called Phoebe Legere “Mick Jagger with an accordion.” and Timeout called her “the Sexiest Accordionist on the Planet.”

Phoebe Legere