Bringing grandiose indie vibes, the new single Summertime from Niamh Casey acts as the perfect taster for her upcoming debut EP.
With a huge production with strings and piano alike, Casey sets out her stall with this latest single, packing a punch with both the songwriting and lyrics.
It’s here that the single truly shines, offering real emotional depth and acting as a captivating throughline at the heart of the song.
This is further elevated by an outstanding vocal performance – not only technically impressive, but also emotionally resonant, perfectly conveying the meaning behind the lyrics.
As the track progresses, the song continues to gain momentum. The subtle touch of piano in the build-up to the chorus is a lovely addition and enhances the expansive feel of the production.
Overall, this is a brilliant tune showcasing a talented singer-songwriter continuing to grow and refine their craft with excellent results. Make sure to check it out below, and if you can find Niamh’s Instagram here.
Hannah Robinson’s latest single Who Am I sees the Newcastle-based artist delve deeper into darker sonic landscapes.
Building on her dream pop background, Robinson further develops her sound on this release with a stunningly crafted piece of dark shoegaze.
Attention is paid to the atmosphere of the production from the very start, with the eerie, dreamlike nature of the distant backing vocals. This is immediately split by a clean, driving bassline which propels the track towards its chorus.
The rhythm section is stark within the mix, set against the hazy canvas it’s painted upon. This atmosphere is built via beautiful vocal layering, used excellently throughout the track to fill out the sound.
However, great production isn’t all the single has at its core. Who Am I is just a great piece of songwriting, acting as a character study into narcissism and the delusions of past lovers. This culminates in the explosion of a chorus that packs a musical punch.
Overall, if you’re a fan of groups like Wolf Alice or NewDad and love dark, hazy indie rock, you’ll get a lot out of this incredible track. You can catch Hannah Robinson at Munro Festival in Stockton in June and can find her Instagram here.
With an elaborate production and intriguing lyrics, the latest album from Citizens of Yeah showcases a project pushing itself towards sonic greatness.
Citizens of Yeah is a musical project based in Ryton, nestled within the Tyne Valley, that has begun to build a reputation for their lo-fi yet complex production.
Over the course of the last few years, the project, led by Jonathan Womack, has slowly released a number of deeply intrguing singles and an album, Thermonuclear Warmth, back in 2023, combining strong songwriting with thoughtful bedroom production.
This is something which hasn’t changed with the release of the sophomore album, People’s Republic of YEAH, which once again places a strong emphasis on production – something that has been carefully considered throughout the ten track LP.
The unique production is evident from the first track, God is my right, where the listener is immediately greeted by crunchy guitars and massive-sounding drums. Lyrically, the song confronts wealth and empire, with an emphasis on taking lessons from the past – something that forms the refrain in the chorus.
The overall tone and vibe of the track reminded me of something from Blur’s 2003 album Think Tank, with a little bit of post-punk thrown in. The production comes across as both shabby and well-put together, maintaining a lo-fi mood that hides the production’s hidden complexities.
Kimberella has a touch of Radiohead to it, with pianos added to the mix. The track combines beautiful, twinkling synth bursts within the chorus before adding some crunch later on through the guitars.
These vibes continue into song 3, Lying on the tarmac, with its dark humour interwoven throughout its lyrics. The track’s long and winding melody acts as a complex path through the song, culminating in the chorus with its sharp lyrics.
Battenburg uncertainty principle switches up the vibe, bringing in huge-sounding guitars that add a lovely crunch to the track. This brings a ’70s rock feel, especially when combined with the trademark lo-fi production. Guitar lines are often left hanging and are messy in all the right ways, bringing a loose feel that gives the song a different twist.
The complex bridges see the distortion turned off in favour of twinkling, plucked guitar lines, illustrates Womack’s talent as a technical guitarist and a production master.
The bass is also a huge element of this LP, something particularly evident on the track Survival of the fittest, which pushes the bass to the forefront of the production. The result is a strong groove that runs throughout the record.
Under a lion’s head once again gave me Think Tank throwbacks, especially with the twinkly beginning, before heading down a more folk-inspired direction with intricate guitar lines that could have featured in a Bob Dylan track.
Next up is 3 Little Piggies, featuring fellow North East group Amateur Orthologist, whom we reviewed back in October. This track served as the lead single for the LP, and we previously reviewed it in detail last year. Within the context of the album, the song shines even more.
War Dogs keeps up the tempo with gorgeous guitar lines decorating the ends of each verse, whereas Theme song for episodic espionage caper brings a larger production to the table with a spy-themed twist.
The production uses brass-inspired synths to strong effect, giving the song a grand feel, and even includes a small melodic nod to James Bond at the end of the track, which I thought was a nice touch.
The epically named Orpheus and Eurydice is heavy on the acoustics but carries the same large-scale production from the previous track. It incorporates ghostly backing vocals and a fuller- bodied acoustic sound, which grinds to a halt for the chorus before building up again.
It is a fitting closer with a great feel, the emotion of the performance bleeding through. Overall, this is a strong sophomore effort with a lot of care and attention to detail. If you like your lo-fi indie, make sure to give it a try.
Bringing dance grooves with a gothic edge, the latest Marq Electronica EP brings big beats and a lot of fun.
Beginning with Sick Puppy, the gothic grooves kick off the moment the needle drops, creating a horror-film-inspired vibe.
Creepy-sounding synths decorate the song’s strong groove, which manages to be both danceable and menacing.
The “all for nothing” hook recurs throughout the song, adding a beautiful melodic touch to the stunning groove.
Mr Nobody introduces rap influences with its trap inspired beat, which opens up nicely into a Nine Inch Nails-esque track, showcasing the production at its very best.
This leads perfectly into the EP’s final track, Monster’s Advice, which ironically feels like a monster rave, especially with its powerful grooves. Interwoven movie dialogue adds further depth to lyrics that hint at something more than the spooky theme they conjure.
The attention to detail running throughout the EP continues on this track, with a gorgeous synth flares drifting in and out of the song.
Overall, if you’re looking for electronic music with a gothic twist, this EP is definitely worth checking out.
The new single from Sam George is a treasure trove for guitar lovers, packing a variety of styles into one deeply satisfying offering.
The Tyneside artist showcases both his musical ear and talent on this track, skilfully weaving vastly different guitar parts into a cohesive whole.
From its funky beginning to the chunky chorus, there’s a lot to like. The track manages to simultaneously maintain a groovy vibe while delivering strong, memorable melodies.
Attention has been paid to creating a rich array of sounds. It’s almost as if George has decided to channel all of his influences at once and it works brilliantly.
The song builds to a climactic finale that combines two distinct solos together to finish on a brilliant high note.
If you love indie music, you’ll really enjoy this track. From The Smashing Pumpkin-esque vocals to light funky rhythm sections, it’s a gem worth checking out.
A slightly different one today, as I wanted to draw attention to the new posthumous release from folk musician Martin Matthews.
The album, No Time Like The Present, features 17 tracks recorded during the final months of Martin’s life before his passing in August 2023 at the age of 71, following a courageous battle with bowel cancer.
Martin’s friends and family have released the album to raise funds for three charities close to his heart: The Sir Bobby Robson Foundation, Macmillan Cancer Support, and Marie Curie.
Over the course of 20 years, Martin played in 12 bands, becoming a beloved figure in the North East folk scene, and collaborated on four albums with producer Sean Taylor.
It is Taylor, who worked with Martin over the past 20 years, who finished the project based on Martin’s detailed notes.
With the proceeds from the album, Martin’s friends and family are now hoping to support the organisations that provided vital care during his illness, which included a clinical trial for innovative cancer drug at Newcastle’s Sir Bobby Robson Cancer Trials Research Centre.
Martin’s wife Maria had this to say about the work that these charities:
“The support we received from these organisations during Martin’s illness is something I, along with our wonderful daughter Cate, will always cherish. Their kindness and practical assistance during such a challenging time made a world of difference to our experience.
Martin was truly grateful for all they did for him, and it was his firm wish that proceeds from this album, one he was incredibly passionate about, went to them in order to support other families facing a cancer diagnosis.”
A few weeks ago, I caught up with Sean McKinney of Morning Tourist to discuss his brilliant project, his UK tour (including his Newcastle stop) and exciting future plans.
Our conversation began on a gorgeously autumnal Sunday morning with an update on that latest happenings in the world of Morning Tourist:
“I’ve just finished recording a single, which should hopefully be wrapped up by the end of the week. I’m not sure what this signals the beginning of. The last thing we did was release the LP The Endless Eve in 2023, and before that, we put out an EP that got printed on vinyl and found a home with a label. It was a big moment for the project, being able to present something to people that they could hold and listen to. I’m a huge fan of albums because I love the idea of a collection of work representing a cycle of life or mood.”
This sense of cohesion certainly shines through in Morning Tourist’s music which blends a personal tone with intricate songwriting. McKinney is proud of the personality within his music and is determined to keep it central as he moves forward with new projects under the new production guidance of Ben Andrews.
Morning Tourist Live In Newcastle
“A mate advised me against jumping into a new album too quickly, in case it overshadowed Endless Eve. I’ve been working on new material, but we had to switch producers, as my last one has become a farmer and is now occupied with turnips! It was a bit of a leap, as he helped shape the sound significantly, so parting ways was bittersweet.
However, working with Ben Andrews has been great and really exciting. I’ve brought in some of the touring band to record, which has added richness to the sound.”
Finding the balance between maintaining the DNA of the project and introducing new elements has been important to McKinney:
“It does make me nervous, as I want the music to feel like it’s from the same author, even with new producers and members. The new music we’ve recorded so far isn’t a huge departure, but it does have a slightly different tone, with new instruments in the mix.
I wrote a song on piano, which is a bit different from my previous work, though it’s still firmly within indie rock singer-songwriter territory.”
I really wanted to get to the heart of what drove McKinney to produce the music he does as Morning Tourist and it’s origins came from an interesting place.
“I always joke that my first influence was Bart Simpson. He’s rock ‘n’ roll without being a guitarist or anything like that. As I was growing up, he represented rebellion, and it made me think that rebellion was cool, which is at the heart of rock ‘n’ roll.
I first really got into music around 11 or 12. My brother’s mate had a Green Day album—I think it was Nimrod. From there, I got into groups like The Offspring. Those bands were crucial, as they taught me how to write songs using power chords and verse-chorus-verse structures, which helped me start as a songwriter.
I played bass in a couple of punk bands as a teenager, but as I was writing the songs, I started gravitating towards the guitar. That led me to more songwriter-oriented, acoustic music like Bright Eyes and Death Cab for Cutie.
I began moving away from punk rock and exploring other forms of music. I was definitely a product of the indie boom of the 2000s, with bands like The Strokes and Arctic Monkeys, but I also love Simon & Garfunkel, Michael Jackson, and James Brown—my parents’ influence.
I do get excited by the Cohens and Dylans of the world; I always gravitate towards the song.”
This is something which definitely runs through Morning Tourist’s work with a clear emphasis placed on the song which McKinney perfects before getting to the fun part of “dressing up the song”.
Morning Tourist are currently in the midst of UK Tour, which takes them to Newcastle (Tuesday 12th of November 2024) and also Carlisle. I wanted his take on touring and life as an independent DIY artist in 2024.
Morning Tourist Tour Dates
“I’m really excited about the tour. I’ll be visiting places I’ve never been, like Glasgow, and returning to spots like Manchester and Sheffield. I’ll be playing some new material live, which I’m looking forward to.
I love touring—exploring cities, meeting people at shows, everything about it is great. We played in the Netherlands recently, and each gig had a unique vibe, from bars to audiences of 300 people. It was exhilarating.”
“The music landscape is quite saturated, though I don’t think that’s entirely new. The democratisation has been good, but it’s harder than ever to get paid, and it’s become a contest of who can shout the loudest.
I understand there’s a game of self-marketing, but I won’t compromise my integrity. I wouldn’t even be on social media if I didn’t make music. I’m not a content creator; I make music, and there are certain things I simply won’t do. I want to maintain integrity and create something lasting.”
That commitment to integrity is evident when listening to Morning Tourist’s back catalogue, filled with distinct songs full of personality. That level of songwriting talent has seen him share the bill with the likes of Mel C and hit the heights of playing Glastonbury twice. I wanted to know how these experiences differed from regular gigs.
“I love festivals, and we’ve been lucky enough to play Glastonbury twice. This year, we played the Green Futures stage on Friday, which was brilliant, as people were full of energy. All my friends came, so it was amazing. The year before, we played Friday and Sunday, which was a dream moment.
We’ve also played Lake Fest and HowTheLightGetsIn in Wales, where we even met Billy Bragg. We did Left of the Dial in the Netherlands, which felt like a bootcamp for emerging musicians. There’s one big room where everyone hangs out together. I’d love to play End of the Road at some point if anyone from the festival is reading!”
Hopefully someone is! Morning Tourist is currently touring the UK and will be playing The Wandering Oak on Tuesday, 12th November with support from Newcastle via Nottingham soul pop artist Remy CB and the previously featured J.W Darwin. Find tickets here.
Combining hard rock guitars and melodic songwriting, Ricky Clark has struck upon a winning formula with this mod-rock single.
The new single from Ricky Clark shows the artist’s eclectic taste, drawing influence from across the rock spectrum – from the Red Hot Chilli Peppers to the mod stylings of 90’s Paul Weller.
This is immediately clear from the song’s opening moments, which have a classic rock feel and an almost spooooky vibe, fitting perfectly with the season of its release.
However, Clark breaks away from this into a very RCHP feeling verse, featuring a hint of a sneering Liam Gallagher-style vocal powering the song along.
The momentum builds on the bridge, which features an excellent melodic falsetto that lingers in your memory.
Eventually, the track breaks down into a middle eight reminiscent of Arctic Monkeys’ Pretty Visitors, adding a menacing tone that complements the song perfectly.
Praise is certainly due for the songwriting on display, which shows both variation and attention to detail, especially in the song’s structure.
Overall, this is a really fun, guitar heavy track, perfect for fans of bands such as Ocean Colour Scene and Paul Weller.
The latest single from The Agency and The Samphires is a masterclass in atmosphere and storytelling, taking you on a darkly ominous journey.
Drawing influence from the likes of Nick Cave, the track blends cinematic themes with a dark aesthetic, which works incredibly well. Featuring the voices of The Samphires’ Elise Shields and Rosa Thomas in a hypnotic call-and-response waltz, the emphasis is firmly on the song’s lyrics.
It’s fortunate then that they really shine building a captivating story that matches the musical background painted by the groups. The whole thing sounds like how I feel the film The Lighthouse would sound if put to music.
The mood is set immediately with the introduction of the deepest of dark synths engulfing your entire ear creating the omnious feel which is reflect within the lyrics.
Lyrically, the track has a fairy tale or nursery rhyme quality, revolving around the “harbour” mentioned within the song’s title, with the duet working well between the two groups.
The whole thing leads to a spooky vibe that suits the season perfectly and is almost certainly one for those who are fans of atmospheric music with well-thought-out lyrics.
Friday night saw art-pop outfit Amateur Ornithologist celebrate their anniversary at The Globe with a vibrant live performance.
The night began with support from Sheffield’s May Days In Barcelona, who brought a different vibe to proceedings with a shoegaze-inspired brand of folk that was truly magical to witness.
May Days In Barcelona – Live at The Globe – 18/10/24
An awful lot of effort went into their performance, featuring numerous looper pedals, a violin and a guitar. This 100% paid off, delivering a captivating and engaging performance that silenced the room.
With songs inspired by such things as birds of prey, it’s no surprise that the set felt majestic and beautiful. The set was concluded by a wonderful cover of Smile! No One Cares How You Feel!, which rounded off the musically rich show well.
They were followed by Belle Skies, who shifted the mood from shoegaze-inspired folk to full blown indie rock. I was impressed by the groups stage prescence, which was both captivating and engaging, further enhancing their very unique style of indie rock.
Clad head to toe in medieval regalia, the group took influence from the least obvious places with songs inspired by Saint Rose of Lima, the patron saint of embroidery, and Nosferatu.
This all led to fun and surreal pieces of indie rock, which seemed to draw inspiration from the 2000s with twinkling synths, strings and riotous guitars.
The whole thing came together very well leaving an impression and showcasing their crop of great indie rock songs.
Belle Skies – Live at The Globe –18/10/24
Next up were headliners Amateur Ornithlogist, who decorated the stage in beautiful autumnal leaves and even dotted a few fake crows about for added effect. The group really took full advantage of their headline slot bringing energy and costumes aplenty to bring something different to their show.
However, the focus was fully on the performance, which was executed to perfection with the stage presence matching the quality of the songwriting on show. The whole thing popped with colour and excitement.
Musically, the band falls somewhere in between musical theatre, Talking Heads, and David Bowie, crafting a unique blend of traditional pop and new wave.
The combination of violins, guitars and thumping bass worked incredibly well to create a collage of fun, colourful songs with meaningful lyrics to boot.
Frontman Daniel Clifford’s vocals were excellent, injecting something special into each tune. This was further enhanced by the amazing lyrics, which flickered between personal topics and playful whimsy.
Amateur Ornithologist – Live at The Globe – 18/10/24
Particular highlights included When They Fall, with it’s epic Bowie-esque feel, and Birds Fly Over Me, which has been stuck in my head for days since the gig.
The instrumentation was fantastic throughout the night, with the band sounding tight. I especially want to praise the guitar work, which was truly excellent, without being overly showy with its beautifully clean tones.
The night concluded with a noncore that treated the crowd to a fun cover of Boney M’s Rasputin, a fittingly enjoyable finale with the band’s Talking Heads vibe turned up to ten.
Overall, I had a thoroughly enjoyable Friday night, and I’m excited to see where the group goes next as they depart the live scene to create their next album.
Humbug North East 