Wondergeist are an amalgamation of culture and sound. The three piece pulls together the corners of the commonwealth for dream pop/ alternative rock masterpiece The Gulf.

Opening track Americana sets the foreboding atmosphere we all feeling during the pandemic with expertise. It builds slowly, driven by a rhythmic bass riff that pedals for the duration of the track. 

The second track Head in the Clouds demonstrates diversity, opening with an innovative rhythm section. The song rolls into a lighter timbre, lifting the weight of the previous track from your shoulders. In keeping with the sound of the album, Head in the Clouds is dreamy and hypnotic.

The vocalist is to be commended for his performance, which moves from nonchalant to distraught depending on the track. The use of sparse harmonies in the album allows them to have impact. The instrumentation is clever, creating enough diversity to make every song worth its time. 

Title track The Gulf starts with a goose bump inducing guitar riff. It’s unnerving and calming all at the same time, like relaxing in a smokey room. The mood is once again lifted by the shuffling By Your Side, which boasts a tasteful and skilled performance on the drums. 

The album concludes with The Leaving Song. It’s fuzzy, rich, and it moves. The song is a storm that passes, leaving you in awe that it happened. The refrain of “you can change your mind” echoes in your brain along with a final sustained chord. Experience the dreamy magic of Wondergeist on Facebook and Instagram.

Pop princess ASHY from Christchurch has released the bop you need to get you through your self isolation. Following her success on NZ’s X-Factor, the 21 year old is pushing for a well earned position on the charts. With a work ethic that can only be admired, we’re excited to see where she takes herself next.

Ego starts with a simple catchy trap riff. ASHY’s emotive vocals sing over the top of the verse as it builds to a drop in the chorus. The song is a well paced mid tempo track perfect for pre drinks or hustling. It’s well produced without being over complicated.

Ego is a clap back at a boy who hasn’t been faithful. It’s an anthem for anyone who’s felt cheapened by another person. ASHY thanks her friends for helping her see exactly who this piece of work is. You can hear in her voice that she’s over it, and that’s the attitude that makes the song so effective. Skype a mate, turn up your sub woofer and find her on Facebook or Instagram.

Close your eyes and imagine you’re at a spacebar built on an asteroid. Grab your noise cancelling headphones, turn up the volume and brace yourself for the meteor shower that is Necrophage by Cosmic Carpool. The second track on their latest LP “Midnight Sun”, it’s an instrumental, intergalactic trip from start to finish.

It starts with a simple bass riff, and introduces a spacey shuffle on the kit. With each bar Necrophage builds energy, introducing alien synths and retro keyboard lines. Each note is a deliberate part of the immersive composition.

I don’t make a habit of listening to instrumental music–I generally find that lyrics are what really pulls me into a song. I’d make an exception for Cosmic Carpool, though. Their song flys you to another planet without any needs for words to fuel the imagery. I’m writing this from an aeroplane, but I can’t wait to download the rest of “Midnight Sun” once I’m reuinited with wifi.

Catch a flight to another dimension on Instagram, Facebook or their website.

Future Pixels is an undiscovered enigma from South Gate, CA. Named after a Gorillaz lyric, the mysterious and psychedelic artist reveals no more than those two facts about himself online. Despite a low digital profile, he has released three impressive and innovative singles to date.

His most recent track Keep on (Bumping) belongs on the soundtrack for 2014 indie film Frank. Future Pixel’s progressive use of instruments is indicative of talent and understanding in the field of arrangement. Funky bass, keys and psychedelic guitar weave their way in and out of the soundscape, mingling with charmingly nonchalant vocals.

The sound opens up for a feel good chorus and a catchy hook that’ll rattle round in your head for a week after you hear it. Despite having no idea what the hook means, it’s been stuck in my head for the last five days, and I’m not mad about it. Keep on (Bumping) is a bop you should definitely take with you on your next roadtrip.

The Future Pixels  project is “soon expanding to become much more than what it presents itself to be”. We’re utterly perplexed by this statement, and can’t wait to find out what that means. Scratch your head and wait with us on Spotify.

Ana Lete is a Boise based artist whose music has a dreamy, otherworldly quality to it. She experiments with clash harmonies and busy guitar parts to create a sound that is quite unique. Lete is known for her ability to connect with her audiences, and attendees often find themselves teary-eyed by the end of her shows. She released her debut EP in 2016, and is preparing to release full length album Eternal Hibernation in 2020.

Lete’s latest single Footsteps begins with an ostinato guitar riff, and introduces a shuffling rhythm on the kit a few bars in. Her nonchalant vocals muse that it’s hard to fight the constant cloud of negative inside. The clean electric vibes for the duration of the song, sending the listener into a meditative state. This allows them to join Lete in her thoughts— I’ve spent too many days locked inside my brain.

It’s exciting to see the bass playing such a star role in an indie folk piece. It seems to tell a story all on its own, shifting through unorthodox melodies and dropping out at key moments. Overall the production and instrumentation is creative, and intriguing. Lete is certainly an act worth keeping tabs on, and you can do so on Instagram or Facebook.

Chinese Takeaway are an emerging nostalgic band from Sydney, Australia. Their focus is on crafting “bright pop songs that capture the essence of young adulthood”. The band has a way of sending their listeners back in time to when life was a little more simple.

Baby (Won’t Kiss These Tears Away) is a swaying, pining ballad about a lost love. A stunning, and vulnerable performance from Lauren Towler-Lovell makes the song feel real. Her use of eerie harmonies at poignant moments help to build the feeling of quite mourning for a relationship that’s falling asleep. 

Lyrically, Baby is earnest. “Baby don’t make love he only casts skeletons that plague our conscious at dawn”. It’s easy to get lulled into a state of empathy for the narrator, regardless of whether you’ve found yourself in this position before.

The band’s use of a sleepy slide guitar solo help to build the pensive atmosphere. Overall, the instrumentation is brooding, and tastefully executed. The production is clean and professional. 

You can follow Chinese Takeaway’s journey on Facebook and instagram.

Sofar Sounds was started by three guys who were frustrated by the music scene. They wanted  a space in which they enjoy music uninterrupted by boisterous crowds. They began by hosting a gig in a North London flat, and the rest, as they say, is history.

The London Sofar on the third of March was held in a looming, echoing 19th century church in Aberdeen Park. Behind the stage was a distorted image of an Indonesian waterfall as high as the ceiling; a live stream reflecting weather patterns and connecting us with the other side of the world. These nights are as much about the magic of the venue as the artists themselves. It was hosted by a bubbly, engaging MC who found out this was her role for the evening 10 minutes before the stepped on stage. She was passionate about the revolution that is Sofar Sounds.

The first act was the brilliant Gecko, who seemed at home in front of an audience. He started with the most hilarious “You Can’t Know All The Songs”, and somehow convinced a floor full of trendy hipsters to join him for the chorus. The atmosphere immediately lightened, and the crowd was on his side. 

Gecko proved his musicality with a moving ballad from the perspective of Rapunzel. While driven by his a sense of humour, the song demonstrated lyrical prowess. It was a display of comedy braided with feminism. He ended his set with his killer track “Breathe”, set for release on the 27th of March. Gecko was a tough act to follow, but Sarah Callaghan was the woman for the job.

Sarah rose from a heavy place. While she is no longer living in the darkness, she took us for a walk through her experiences and time there. Her performance held a raw, and real energy— I got the feeling that she was reliving the moments as she shared them. Her poetry was lifted by the occasional backing track punctuating her words.

Walking the tightrope between poetry and rap, the rhythm of her words hypnotised us. I appreciated her frank, and honest approach to her art. She drew us in to her life; a troubled past, a problematic father… We were there with her the whole way. 

Her set was made by her stage persona, which lightened the mood between poems. Her background in comedy was evident, as she appeared at ease in front of a crowd, and allowed us to feel comfortable to. It was fun to see a collaboration between Sarah and Gecko for her final piece. You can listen to Sarah’s EP “Jacob’s Ladder” on Spotify.

It’s not just any artist that can commandeer a violin, cello and french horn for a gig. From the moment Valerio took the stage it was evident that he was trained and skilled. He began with a rolling power ballad, displaying a well supported tenor. Balance will always be a challenge in the context of an unplugged performance, but the musicians did an excellent job of catering to his voice.

He moved into a soaring chorus on top of the warmth and support that can only be provided by tactful backing musicians. At times Valerio sounded like a male Regina Spektor. We were treated to a sneak peak of his next single, due for release on the 12th of March. During the intro not a thought was whispered, nor a beer can cracked. This is the magic of sofar sounds. 

Tir Nan Og are a experts at genre par kor. In a single song they can straddle rock, reggae, acoustic and punk music, while still remaining true to their roots as a celtic band. Their newest album From the Gallows leaves you pining for a crowded pub and a glass of whiskey.

The second track on the album, Hangman’s Tale evokesthe kind of rabble-rousing atmosphere that only tight folk harmonies and a well played fiddle can. It’s impossible to sit still while listening to the rousing bowing of Matze. Coupled with Sarah’s (breathy) flute playing, and Robert’s powerhouse vocals Tir Nan Og puts forward a full and dynamic sound. There is genuine talent in this six piece.

The band demonstrate their arrangement expertise by introducing a military-esque snare line in the middle of the song. Drummer Volker’s crafty shift in rhythm allows the song to stay fresh and exciting. Joggl’s rhythmic bass helps to drive that specific kind of fiery energy the band exudes.

In typical celtic fashion, Hangman’s Tale tells a macabre, but dynamic story. The addition of Sarah’s eerie whispered vocals makes the song feel like an old ghost tale. 

If you’re like me, and have a little bit of Scottish heritage, then Andi’s shredding bagpipes might awaken your inner Pict. The first time I listened through From the Gallows I had to fight the urge to fire a canon and storm a castle. In all seriousness, Hangman’s Tale is an impressive piece, and I’d thoroughly recommend a listen.

Tir Nan Og where an exciting discovery for us. You can discover them on Facebook, YouTube and instagram.

Porkboii is an emerging artist from Redlands, California. Trading in their journal for song lyrics, Porkboii’s music is vulnerable and honest. Following their two 2019 singles, Porkboii released an album entitled Love Letters, which explores their struggles with depression and interpersonal relationships.

The second track on the album You Only feels like the stream of consciousness of a manic pixie dream girl. It perfectly captures the crowded rambling you get in your head when you can’t stop thinking about someone, but your self deprecating tendencies tell you they won’t care. One line that really hits home is “I could put myself out there, but I have a feeling I’ll regret it”. You Only would work perfectly on the soundtrack for an indie romcom.

The simplicity of the production and arrangement is charming, and adds to the vulnerable nature of the artist’s writing style. Porkboii’s vocal performance is shy, connecting well with the feeling of low self esteem. In the future we hope that Porkboii might raise the volume of the vocals in the mix so that their beautiful lyrics don’t go unheard.

Porkboii has an alleged 25 songs waiting to be produced, and we can’t wait to hear them. You can jump on the hype train with us on Spotify and instagram.