Twenty-nine pearls in your kiss A singing smile Coffee smell and lilac skin Your flame in me
No one sings like Jeff Buckley, nor can anyone reach his emotional depths. But lead singer of HAERTS, Nini Fabi, seems to understand the stakes of covering a Jeff Buckley song. Drenched in HAERTS’ classic 80’s orchestration, the cover does a great job at going in a completely different direction, separating the chorus from the minimalistic, dreary verses. The chorus blossoms into a shimmering idea, but never speeds out of control. Compare the versions of each song below:
Life in Film released its debut album, “Here It Comes” earlier this week, and I was immediately taken by the track, “Anna, Please Don’t Go.” A charming love song that would fit perfectly into any upcoming indie flick, be it by Wes Anderson (see “Moonrise Kingdom”) or by Marc Webb (“500 Days of Summer”). This London four-piece band has already attracted the right people, including playing with the Rolling Stones.
Too often, pop artists will show glimpses of restraint, but are then forced to show the song’s metaphorical “full hand” in the first chorus to make it “radio-ready.” Oh Wonder holds back in “Livewire,” letting the listener get what they think is a full chorus the first time, and on the second time around, the group reveals its full sound and potential. This London duo is a step away from breakthrough, and it is only a matter of time until others begin copying Oh Wonder’s sound. My only frustratingly minute nitpick with the song is that the chorus sounds eerily similar to Katy Perry’s “Teenage Dream.” See if you can find the section that sounds exactly like: “Let you put your hands on me in my skin-tight jeans, Be your teenage dream tonight.”
Minor-chords define the opening of Demitasse’s new song, “Comfy Coffins.” The lyrics describe the sense of being alone and that we all share the misery collectively. Yet, as soon as the darker tone is set, we are temporarily relieved with the first major chord that sparks a more uplifting chorus. It’s got friendly hand claps and upper register harmonies that help create this musical glow. In the end, the music is bare and poppy, yet deep and thoughtful.
This 24-year old from Sheffield, England has some “Ben-Howard-esque” guitar licks and an unobtrusive falsetto that soars above the spare instrumentation. I really feel that this song benefits from from not being overly produced. Its the guitar alone that forms that offbeat rhythmic groove. Looking forward to his debut album out in March 2015.