Tunesday with Tay-Tay. (not that Tay-Tay)
Here are our top picks from new releases in the past week, selected by indie-rock-god (not actually, but fangirl none the less), Taylor Yates. For this week’s instalment, we’re going over to the side of indie-electro with the likes of BATTS, Lupa J, Deer, Yeo remixing Bonjah and Dividem.
‘For That, I’m Sorry’ – BATTS.
‘For That I’m Sorry’ is second single from the duo (consisting of Melbourne’s Tania Batt and Birmingham’s Ficci), and it definitely lives up to it’s predecessor, ‘Morals’. It starts off with watery sounding bass notes then smooth vocals wash over you, right before the bass drops. The vocals in this track are by far the star. It hits you in the feels in the chorus of “For that, I’m sorry / For that, I’m sorry / For that, I’m sorry / For that I’m sorry…”, if you’ve ever done something to hurt someone you love, you’ll be able to relate to this track. But if not (yeah, right…) you’ll love the way it dips and flows in all the right places, the beautifully deep vocals and the way they almost harmonise with the keys in the beginning, and then progresses into a bit more of a bass-y electro track. So much synth-y goodness.
‘Armour’ – Lupa J.
Lupa J is a 17-year-old classically trained violinist turned singer who’s just been named a Triple J Unearthed High finalist for the second year in a row. If that doesn’t impress you, I’m not sure what will, but if for some strange reason that doesn’t blow your socks off, maybe the pipey sounding keys will. Or the gorgeous violin that creeps it’s way in, massaging it’s way around the deep, searching vocals. There’s a lot of depth in this song for someone so young in the game, but also a high level of emotional maturity for someone’s so young. In her own words, she says of the song: “Armour was inspired by those who try to become tough or aggressive in an attempt to deal with difficult emotions that are oft perceived as weakness. It’s about avoiding those real emotions and in the end, leaving someone out of touch with their most honest, sensitive side, all whilst hurting others in the process.”
‘Cry For Help’ – Deer.
‘Cry For Help’ is the first official single from Melbourne’s Deer (AKA Tom Hitchcock). Glittery keys open with wisps of a vocal melody before it gets pumping and progresses to a faster more dubstep-esque sort of track. There isn’t really any vocal melodies in this tune at all, apart from the faint lines at the start, this track is pretty much entirely instrumental. It almost sounds like it could be in the background of a video game, with it’s sharp little way of sampling and deep bass notes. There’s such a delicateness in the piano notes that weave into the high pitched video game sounds. But it really doesn’t need any vocals, the pretty meets dirty melody seems to do all the talking.
‘Burn (And Shine)’ – Bonjah, (Yeo Remix).
I for one, was not expecting this pairing. When it flashed up in my e-mails, I was immediately intrigued. This remix of a soul/rock track could easily take it out of the realm of indie-rock and slip it straight into regular plays on the club scene. If you listen to them one after the other, it’s nearly hard to believe that it’s the same song. Yeo has just taken it and made it something of a completely different calibre. The only thing it really retains from the original is Bonjah’s gravelly vocals. It almost sounds more like a collaboration than a remix. I would definitely dance to this at the club – and I don’t even (really) go to clubs. Plus, it only stretches out to a minute or so longer than the original – bonus!
‘All In My Head’ – Dividem.
After much debate in the Speaker TV office, we’ve collectively decided that our official guess for the unnamed female vocalist is JOY. Now we have that out of the way, the way this song is composed is just fantastic. The vocals come in within seconds matching the tone of the keys, almost melting together, but different enough to keep it flowing. Then the keys take a backseat and synths come in, all while this mysterious singer’s voice stays at the same level. It really all just wraps around her, and shows off her vocal ability, amongst all the other changing variables of the track. It almost sounds a bit jazzy in some parts. This one is definitely my favorite track for this week.