Now The Convenience are back with ‘Dub Vultures’, a second single which further draws the audience into the ambiguous, almost contradictory world of Like Cartoon Vampires. With infectious drums and buoyant guitar, the immediate sense of the track is one of bright confidence, though something else moves beneath the surface. A counter force of sharp angles and acerbic attitude which lends an undeniably dark undercurrent. Once noticed, this dimension of the sound acts to shape the other, transforming the almost carefree rhythm of the opening into a presiding sense of volatility. As though the momentum isn’t some dependable force but rather an unstable chain of motion. The lyrics further play into the vibe, drawing on the sinister threat of the song’s titular creature to present a series of opaque yet loaded images.

Somewhere over Cairo
(The metal bird bash)
Somewhere over Bolivia
(The metal bird bash)
Shot down over Arizona
(The metal bird bash)
Lost in the glittering zig zag zig
(The metal bird bash)

Watch the video by Nick Corson below:

Like Cartoon Vampires is out on the 18th April via Winspear and you can pre-order it now.

Photo by Daniela Leal, artwork and layout by Nick Corson

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I’m so glad I met you
Our love was a dream come true
It’s not gonna fade away
Just lives in a different place
Our hearts aren’t broken
No, they’re growing

I’ve been trying hard to try harder
I stretch and drink my eight cups of water
I put down my phone, made me smarter
I’ve been trying hard to try harder

Shadow On My Light will be released via Gar Hole Records on 16^th August. Pre-order a copy now from the Maddy Kirgo Bandcamp page.

Album art by Emma Ledgerwood, Feed My Ego

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Now recording under her own name, Steph Green has unveiled Thanks for That, her debut full-length album to be released early next year on Mashed Potato Records. Described as “a concise, seven-track kaleidoscope,” the album casts an even wider net in search of influences, juxtaposing loud and quiet styles to bring Green’s ambiguous moods into relief. Nineties revival distortion accompanies the lush sincerity of contemporary folk, while elements of dream pop and classic surf rock swirl around the Gothic/noir-ish country tones established on Spooky Love. A sound at once empowered and vulnerable, capable of both confrontation and escape.

First single ‘Night Falls’ very much leaned into the country side of this style, but the latest track ‘Next Place’ shows off another dimension to the sound. With the dense haziness of the guitars playing off again the soft croon of the Steph Green’s vocals, the song highlights the album’s loud-quiet dynamic, and the gradual ebb and flow conjures a certain ethereality. A dreaminess evoked in the lyrics too, drawing the listener toward the titular next place.

Check out the stop-motion video directed and edited by Green herself:

Thanks for That will be released via Mashed Potato Records on the 14th January. Keep an eye on the Steph Green Bandcamp page for updates.

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Opener ‘Faith in Love’ is the perfect intro, golden and celebratory and slightly bittersweet, like a timeless classic beamed across the bayou. Thematically, the song has an equally dateless feel, taking on concepts of life and love as they change or don’t, enduring across time.

As the years go by, man we all grow old
what used to get us by has got us feeling low
but there’s one thing that always holds true
it’s the ones you love and their love for you

‘It’s Been Wrong’ rattles along like a cross-country train, a song about loving and leaving that still manages to be the most energetic track on the EP. The heartsick ‘Who’s Your Love’ is sultry and syrupy, the narrator lying awake at 4am wondering about a special someone’s new love, while final track ‘Dreaming of Your Touch’ is heady with yearning and desire. The rickety guitar squawks behind smooth and blue vocals, lonesome pining for someone long gone.

You can get The Lostines EP from The Lostines Bandcamp page.

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The film revolves around the inhabitants of Bathtub, a fictional island off Louisiana. Six year-old Hushpuppy (played by Quvenzhane Wallis, who received an Oscar nomination for the part) has to cope with an unwell and increasingly volatile father, an apocalyptic storm and an apathetic world. There are clear Katrina hints and environmental themes, but there is also a beautiful story about family here too. It is so refreshing to see something that explores our relationship with the environment that does not paint everybody as evil or weak or vain. This film is upbeat despite the undeniably bleak message, it is something that celebrates our existence rather than condemning it. For me the film says: yes, humanity is to blame for a vast amount of damage and suffering (ecological or otherwise), but there is optimism in single humans, in individuals. Humans can be resiliant and tenacious and loving, and these are the very characteristics that can save us.

Anyway, back to the soundtrack. It was co-produced by Dan Romer and director Benh Zeitlin. The music, which is for the most part minimalist, feels part of the very fabric of the visuals and the story, as if the narrative could have been woven from the music just as easily as it was created the other way around. I’m not sure whether it is a completely fair observation (as I’m sure most movie composers work closely to match their work with the film in question) but I felt that it was apparent that the director had helped score his own film. 

It’s simple, just like the lives of the people of Bathtub. There is no flashy instrumentation, no thundering of a grand orchestra, just evocative and masterfully thought out music that adds an extra dimension to Hushpuppy’s view of her world. There are tracks that feature Cajun music (such as The Lost Bayou Ramblers, Leroy “Happy Fats” LeBlanc and the Balfa Brothers) and these are surrounded by the usually minimalist soundtrack, successfully portraying them as something Hushpuppy experiences in between or as well as her own mental soundtrack (i.e. the main soundtrack to the film). It is a clever concept that I’d guess would come across much better if you have seen the film.

Get the soundtrack from iTunes and the other usual places and have a listen on Spotify (boo!). Try and see the film if you can, it is a joyous watch. Check out the trailer below.

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