Aside from a new Catfish and the Bottlemen song as well as an exciting new single from Rex Orange County after a two year break, there wasn’t much in the way of new releases from my favourite artists this month. Instead, I discovered a load of new artists, from electro-pop group BETWEEN FRIENDS to the bluesy indie folk of Matt Maeson and the genre-blending R&B of Phony Ppl. With two new Lemaitre songs just out as well as the release of a new Snarky Puppy album, March is expected to be more exciting. Most thrillingly, Still Woozy is set to release his debut EP, featuring the incredible Habit and four brand new songs. If he can fill an EP with the same quality as found in Habit, it will no doubt be one of my EPs of the year.
Oh My God
by Ida Maria (Fortress Round My Heart, 2009), Song of the Month (February 2019)
There’s something lovable about a song that doesn’t bother with the formalities of a pleasant introduction. Bands like Hop Along seem well aware of this, with Frances Quinlan often bursting straight into her distinctive vocals without any instrumental warning whatsoever. Yet what’s perhaps even more unexpected, rebellious and downright rude is a song that presents a traditional build up to the first chorus, before seemingly becoming impatient and launching into that unforgettable hook. Norwegian ex-indie rocker Ida Maria did just that in the scintillating Oh My God. A flurry of snare bashing sends you plunging head-first into a dazzling, thumping world of splashy drumming and emphatic vocals, with lyrics and tone that give hints of Maria’s early punk influences. The lyrics, in fact, are very repetitive, resulting in a song that sounds more like a defiant chant, in stark contrast to the style of the aforementioned Quinlan. Through her exasperated titular lyrics, Maria seems to be laughing in astonishment at someone else’s ignorance, and in the process has created a song with the somewhat magical ability to turn anger into elation. A perpetually pumping kick drum or snare keeps the foot tapping, whilst Maria’s vocals gradually become more extraordinary and powerful. In fact, the transformative power of the music seems to become too much for Maria herself, whose raucous wailings close the track and add another generous helping of punk. Indeed it seems the rush of adrenaline is dying down as the band collapses into disarray (and so did Maria when on performing for Jools Holland in 2008). Thankfully we’re treated to a conclusive smash at the end, though. By keeping lyrics and song form simple, Maria has created the quintessential post-punk belter that doesn’t bother to check the rulebook. Unfortunately, not much happened for Maria after the semi-hit of Oh My God. Her second album, Katla, was underwhelming and an attempt to get into Eurovision in 2018 ended in swift elimination during national selection thanks to a fall on stage and a horrific song that sounds like the polar opposite to the wonderful Oh My God. The recent failure only serves to make Oh My God all the more extraordinary – a gem in Maria’s humble discography.
Somehow.
by Phony Ppl (Yesterday’s Tomorrow, 2015)
Phony Ppl is one of those bands that seems to create its own genre. For easy labeling purposes they’re an R&B band, but one listen to Somehow. and indeed much of the album in which it features will show that this band is much more than just jazzy basslines and major sevenths. In fact, their outstanding debut album Yesterday’s Tomorrow sees the band delve into plenty of hip-hop, pop and even classical crossover. The reflective album closer Somehow. – complete with its trendy full-stop that gets less and less cool the more it becomes pointlessly overused in modern music (half•alive, Mom Jeans., Kendrick Lamar) – sums up Phony Ppl’s freestyle approach to songwriting. A guitar-backed Elbee Thrie opens the song, delivering assured vocals and touching lyrics, bringing a new, somewhat melancholy perspective on the album as a whole. Thrie sings of false dreams and loneliness, but it feels somehow defiant and uplifting set against the powerful central lyric: “But somehow, I keep on loving you.” Then, unexpectedly, the song seems grow and become even more beautiful through an extended strings interlude that sounds like a flower opening up to the sunshine. Soaring melodies drift over an increasingly large ensemble, sending you off into a dream ever growing in its majesty. Soon things materialise thanks to a tasteful drum groove, and the song’s apex is reached. A choir armed with a stunning hook join the ensemble, and something extraordinary is created. The repeated lyric (“I keep on loving you”) seems to have a wealth of emotion behind it – powerlessness, defiance, hope and of course profound, heartwarming love all blend to form a potent concoction that can both bring tears and get you dancing. Somehow. is one of those songs that must be heard with full attention to be fully appreciated, and it’s a piece of music I’m sure I’ll hold close to my heart for many years to come.
affection
by BETWEEN FRIENDS (u can still come over – EP, 2019)
Another band employing rather gratuitous title stylisation is sibling duo BETWEEN FRIENDS, who specialise in a synth-driven electro-pop sound. Their catchiest tune yet is affection, a song which feeds off an earwormy chorus and its accompanying kick-snare thumping drum beat. Despite being a fairly recent creation, the band certainly know how to mix a song until it’s sparkling, with every last aspect of affection‘s production polished to perfection. In many other ways the song feels standard – the chorus doesn’t develop much over the song, the vocals are unremarkable and the middle eight does little but fill time before jarringly introducing the final chorus. That said, there’s a lot to be said about affection‘s simple chorus bassline and melody which is punchy and satisfying, if unspectacular. Sometimes time signature trickery (like in Just Friends’ Supersonic or Snarky Puppy’s unbelievable What About Me?) or an other-worldly surprise (I refer you to the trombone-wielding Eric Butler in Mom Jeans.’s astonishing Scott Pilgrim v. My Gpa) isn’t necessary for an amazing track. affection has proved that with a solid hook and pertinent structure, a highly satisfying bop can come into being.
Bad Kids to the Back
by Snarky Puppy (Immigrance, 2019)
With many jazz-loving friends, I feel I should be really into Snarky Puppy, but the truth is I’ve only really delved into the jazz fusion band’s most popular classics like Tarova, Lingus and – my personal favourite – Shofukan. Nonetheless, I’ve been following the pre-releases of the (now released) new album, and soon enough the jazz-funk groove of Bad Kids to the Back found its way into my small selection of regularly-enjoyed Snarky songs. It’s a song full of the delights I’ve come to expect from the band – rapidly complex percussion, meandering harmony and tasteful, unique solos (this time supplied by tenor saxophonist Bob Reynolds). As with the rest of the album, the ever-changing collection of world-class musicians deliver a restless five minutes, and things only get better as the song progresses. What’s the one thing better than a drum solo? Three drums solos. At once. As the songs approaches it’s finale, Jason “JT” Thomas, Larnell Lewis and Jamison Ross launch into an epic battle, trading blows in extraordinary 4-bar bursts that leave you wondering how the drum kits have managed to stay in tact. With complexity reaching maximum, the whole ensemble returns after an unforgettable final fill. Like any good Snarky song, Bad Kids to the Back leaves you breathless and questioning whether what you just heard was even real.
Harry
by Kelsy Karter (2019)
By the time her dog died and her relationship ended, New Zealand singer Kelsy Karter was tired of writing sad songs so, with Harry Styles on her lock screen, she decided to write something about him. The song turned out well, but with Harry’s birthday approaching and the song yet to be released, she was in need of some public attention in the hopes of releasing the biggest hit of her career. Of course, there seemed to be only one logical thing to do – pretend to tattoo an image of Harry on your face, and hope the world is fooled and the story goes viral. Sure enough, the now infamous side-angle shot of Karter’s face received plenty of attention, reaching many bemused onlookers worldwide. Karter’s admission that the tattoo was fake only amplified the online ruckus. Perhaps surprisingly, Harry is a tune that almost deserves all the attention it’s been getting. Karter delivers a bubbly rock ‘n’ roll drive complete with an undeniably effective hook. There’s something playful about the chorus in particular that matches its playful method of promotion. In fact, the shallow lyrics and playfulness feels hugely uplifting; after a particularly dark period in her life, Karter has not only managed to produce the hit of her career, but have a laugh in the process. That’s simply inspiring.
Ric Flair
by Tom McGuire & The Brassholes (Tom McGuire & the Brassholes, 2018)
I’m sure the post-Vulfpeck-album blues are setting in for some Undertone readers; it is sure to be quite some months before we hear any fresh material from the Michigan funksters. Have no fear, though, for Tom McGuire is here with some Antwaun Stanley-esque soul to keep you occupied. The accompanying Brassholes make an excellent first impression in Ric Flair through some frankly ridiculous unison horn licks before McGuire gets to work. Ric Flair is everything you need – it’s fun, no-nonsense and (most importantly) funky, complete with vocal interjections that one can imagine Baby Theo yelping from the back. The lyrics are also aptly hilarious in their description of Ric – “Whenever Ric ‘woo’s, it’s always B flat (actually C sharp but who’s checkin)”. Throw in a busy little trombone solo and you have a joyous track that doesn’t take itself seriously because it doesn’t need to. I’m sure Jack Stratton would love it.
Beggar’s Song
by Matt Maeson (2019)
Hear a standard guitar and vocals set-up starting a song and one immediately fears for the worst. Singer songwriters are everywhere, so to stand out you need more than just a decent voice and a catchy hook. With the personal connection that comes with a stripped down acoustic arrangement comes the risk of a song lacking of interest, and an increased challenge to keep things engaging. Matt Maeson seems to be aware of this, and the moving Beggar’s Song is a prime example of how to pack a song with excitement. After an opening of just Maeson and his guitar, various instruments begin to quietly enter the arrangement through the back door: first a piano, then backing vocals, a bass, a building drum kit, a tambourine and eventually piercingly-high horns converge, and before you know it you’re listening to an almighty ensemble. To make things even better, Maeson incorporates several euphoric stops as he sings passionately about homelessness and drug abuse, something no doubt inspired by his time playing at high security security prisons in his youth. Beggar’s Song builds like a snowball rolling down a hill, and is a prime example of how to take the listener on a journey that’s both memorable and invigorating.
Undertone 
Leave a comment