Review: Baby Steps – Amy Shark
- by Nicholas Gaudet
- in Reviews
Amy Shark’s new single is a blend of what makes both alternative and indie so great in one fine package that drives a beat forward from the moment it starts to when it ends.
Amy Shark’s new single is a blend of what makes both alternative and indie so great in one fine package that drives a beat forward from the moment it starts to when it ends.
In a very odd blend of folk and EDM, Lost Frequencies have managed to make an unusual gem that will both make you raise your brow, and nod your head all the same.
Welsh-born multi-instrumentalist, songwriter, producer and author Catherine Anne Davies – otherwise known as the Anchoress – isn’t your normal pop star. A published writer with a PhD in literature and queer theory from University College London, she creates terrifyingly intense songs that often document heartbreaking pain. Tragically, much of this pain is told from personal experience, the last few years having brought the death of her father, a cancer diagnosis and treatment, and the loss of several pregnancies.
The multi-talented Jacob Banks moved to the UK from his native Nigeria when he was just thirteen years old, and with a creative streak that took in singing and playing guitar, he started writing songs of his own at the age of twenty. He plied his trade on the open mic night circuit around his hometown of Birmingham, where he quickly attracted attention for his powerful vocals and intimate songwriting, which fuses elements of soul, African music and synths to create a rich and unique sound.
Arguably one of the greatest album openers, and in consequence one of the greatest singles of all time, has been remixed in 2021 mixed in with whole new elements, as well as speeches from the civil rights icon MLK in what makes one of the most electrifying remixes of all time.
In one of the uncanniest collaborations of ideas and artists, Sting has returned with a new single, My Funny Valentine, embracing music of old along with one of the greatest forces in jazz and music as a whole.
Nearly forty-three years after the original release of the disco single I’m Every Woman, Chaka Khan, the original signer for the track, alongside Idina Menzel got together to re-record the classic hit, bringing modern life into one of the greatest tracks of the seventies.
Bedford-born singer-songwriter Tom Grennan took the name of his second album Evering Road from a street he used to live on with his ex-girlfriend. And his origin story is an interesting one too – Grennan trained to become a professional footballer but was released, finding work instead at a Costa Coffee. At the age of 18, he was attacked in the street leaving him with metal plates and screws in his jaw. He got into music, apparently, after friends were impressed by his impromptu singing at a party, and pushed him into pursuing it further.
When it comes to feel-good music, there is very few songs that come quite as good as Japanese Breakfast’s newest single, Be Sweet.
Nick Jonas found fame as one third of the Jonas Brothers, the American pop rockers who emerged from their Disney Channel beginnings into one of the biggest boy bands of the late 2000s. Unlike many of his contemporaries though, Jonas managed to carve out a successful solo career once his group had split, with the singles Chains, Jealous, Close and Bacon in particular showing that he was capable of varied, contemporary pop classics with his distinctive high-pitched vocals.
BRIT-award-winning singer and songwriter Tom Odell’s new single Monster v.1 drops this week, complete with a video directed by George Somverville and Odell himself. The track is taken from Odell’s upcoming new album Monsters, his fourth studio LP which is due for release this summer.
The dynamic duo is out and about again, just a week after their debut single, with another offering. This time, weirdly enough, they decided to release what is most likely the intro to their upcoming album, and despite only being a minute in length, there’s still plenty to unpack in this tune.
When lockdown first started a year or so ago, many of us made our peace with it by turning to that lengthy to-do list. ‘What a great opportunity to catch up on some jobs’, we thought. ‘Or perhaps I’ll learn a new skill’, we kidded ourselves. ‘I know, I’ll learn Japanese, and the piano’, we outright lied, as we locked the front door, kicked back on the sofa, and lined up yet another box set marathon.
It's been sixteen years since Glasgow duo Arab Strap last released an album, and with it announced their split after a decade of subverting the airwaves with their gritty and sometimes absurd tales. In many ways, they paved the way for acts like Sleaford Mods to take their work to the mainstream, and in this post-truth, pandemic-ridden time, it feels like a new Arab Strap album would land perfectly.