It is not uncommon for artists to create bodies of work surrounding one incident, such as a breakup; Adele’s 21, and Joni Mitchell’s Blue come to mind as examples of this very thing. Myself, I went through a heartbreaking experience over four years ago which created the agony I needed to inspire myself to pick up a guitar and begin writing in a big way. I believe that that pain was the push I needed to put me where I am today. I released my debut album two months ago.
British Singer-Songwriter Charlotte Carpenter has just released her new single Babywoman. Also, she produced a very personal video to promote the song.
Sorry men, the music year 2018 belongs to the women. At least when you look at this year’s line-up of Eurosonic Noorderslag. Probably the first festival of the year, the trendsetting happening in Groningen, Netherlands, offers a stage for more than 100 emerging bands from all over Europe. And surprisingly many artists were women.
Not My Circus, the band of our Artist of the Week David Ernsberger, makes alt-pop songs with folk-tinged vocal harmonies skipping over a freak show of psych-blues riffs, soulful bass grooves, wonky funk beats and warm electronic textures. A white-knuckle ride to the edge of your musical map, and back again.
Our Artist of the Week #23, Sisika, are a four piece from South London, featuring Georgia Duncan on guitar and voice, her sister Katie on keys and voice, David Coughlin on bass and Lucy Katz on drums. Combining close, earthy harmonies with warm guitar, melodic bass lines, minimal synth sounds and subtle drums they create intricate, freely arranged songs with a rootsy soul folk sound.
PRIMA QUEEN, our featured artist of this week, is an energetic and quirky indie-rock band fronted by Louise Macphail (Bristol, England) and Kristin McFadden (Chicago, USA) whose influences range from performers as diverse as Rilo Kiley, The Killers, Fleet Foxes and Alanis Morissette.
Our very first Artist of the Week is Shenandoah and the Night. She offers a haunting, noir-ish sound counter-balanced by bursts of joy and infectious energy. Rootsy enough for folk enthusiasts without sacrificing its modernist edge, Shenandoah and the Night cast a wide net across the spectrums of taste and time, blending and blurring a diverse set of influences that range from the operatic anguish of Nina Simone and Kurt Weill, to the dusky psychedelic sturm und drang of the Doors and Janis Joplin.