Why you won’t be able to turn off these new albums from British artists
The leaves are falling. The nights are getting longer. Christmas is around the corner. John Lewis has released their new divisive festive advert. It can only mean one thing: autumn is here.
But this time, the season joyfully coincides with the return of the all-conquering Adele to the musical fold, whose huge track ‘Hello’ has been covered countless times already. The spotlight is, once again, shining heavily on the British music scene.
Three bands have released albums this season that may not get the fanfare of Adele’s eagerly anticipated release, but certainly deserve some recognition. Rival Consoles’ ethereal electronica, Sexwitch and their blend of hybrid psych folk, and Chain of Flowers’ angry, harmonious take on post-punk.
Rival Consoles – Howl
River Consoles, aka Ryan Lee West, was the first signing to London-based electronic label Erased Tapes. West coaxes strange and otherworldly noises from synthesisers, which sound both human and atmospheric. He has honed his craft through a series of albums and EPs that have seen him quietly become one of the cornerstones of British electronica.
The electronic producer’s third album Howl is filled with reflective, layered soundscapes. ‘Pre’ is the highlight of the record , sneaking in and taking over your stream of thought through repeated listens, and reminiscent of early Boards of Canada.
The staccato drums and slow-building piano of ‘Low’ combine with lush electronics to culminate in an alluring wall of noise. The slinky groove and quirky bleeps of ‘Morning Vox’ can’t help but put a smile on your face.
‘Afterglow’ and ‘Howl’ are two of Rival Consoles’ more club-friendly productions, and although they may not have been created with the dancefloor in mind, they wouldn’t sound out of place there either.
Rival Consoles has the sensibilities of a classical composer, which when coupled with his in-depth knowledge of synths, creates a stark yet life-affirming record.
Best Track: ‘Pre’ is undoubtedly the highlight. Let it take hold with its enveloping melody.
Sexwitch – Sexwitch
A record comprising six covers of 1970s folk and psych songs from far-flung corners of the earth by two diverse British acts shouldn’t work on paper. But somehow it does indeed come together to form a beguiling but thoroughly enjoyable listen.
Sexwitch are a supergroup of sorts. Natasha Khan of Bat for Lashes and the Brighton indie band Toy combine to make a surprisingly refreshing EP. Lead single ‘Helelyos’, originally performed by Iranian funk performer Zia, is a pulsating journey thanks to Toy’s hypnotic grooves that blend effortlessly with Khan’s otherworldly vocals.
‘Ha Howa Ha Howa’ is a reworking of a traditional Moroccan song by Cheikha Hadda Ouakki. It offers up an addictive tribal rhythm washed with a subtle electronic background. Khan’s effortlessly layered vocals bring the song home, creating an alluring arrangement.
The stirring ‘Lam Pleam Kiew Bao’ sees a sensual beat and vocals merge, and Khan cries out “when I die, I’ll go back to where I was” over the relentlessly pounding beat of ‘Kassidat El Hakka’.
Bringing this scintillating collection of rare and unknown Middle Eastern tracks into 2015 was a fine idea. The way that Sexwitch have created something wholly new, ridiculously charming and repeatedly listenable is even better.
Best Track: ‘Kassidat El Hakka’. Why? A pounding beat takes root while Khan’s banshee howl evokes the spirit of the song’s original performer, Abdellah El Magana.
Chain of Flowers – Chain of Flowers
Cardiff six-piece Chain of Flowers have just released their self-titled debut album on Alter, and it’s been a long time coming for the post-punk meets shoegaze troupe. Made over the last two years, Chain of Flowers have built up a stellar reputation on the live circuit and this record encapsulates everything that is visceral and beautiful in the band whenever they step on stage.
‘Crisis’ is brutal, lovely and jangly all at once. All six members shout “crisis” as the fraught, intense percussion takes hold. ‘Glimmers of Joy’ harks back to the heyday of 80s post-punk, once heard from luminary bands such as The Cure and Joy Division.
The whole record feels like it was recorded in a padded cell. A muffled echo seems to hang over the collection, and it makes for a thrilling listen. None more so than on ‘Death’s Got a Hold On Me’, which lifts off from the first second and doesn’t return until the song’s conclusion.
With the band comprising multiple vocalists, each track feels suitably colossal. This is especially true on ‘Follow’ and the nine-minute closer ‘Drained’, which is an apt title, but in the best way possible, for the listener after hearing Chain of Flowers.
This is an album that deserves to be celebrated and should rightly appear near the top of many of the album of the year lists.
Best Track: ‘Crisis’ stands out from the pack with its unrelenting pace and harmonies.
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